GSA U18 2021 Primer by GSAUnit18

hyperreal prototypes: supersurfaces

primer 2021 Unit 18 Masters in Architecture Course Graduate School of Architecture University of Johannesburg

hyperreal root haunting parallel cyborg replica image authentic prototype planetary

HYPERREAL PROTOTYPES

2021 Unit 18 Hyperreal Prototypes Unit Leaders: Naadira Patel & Sarah de Villiers Unit Assistant: Nothando Lunga Graduate School of Architecture Faculty of Art, Design and Architecture University of Johannesburg @gsa_unit18 www.gsaunit18.com Cover image: Nam June Paik TV Garden

CONTENTS

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FRAMING STATEMENT

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11 MICRO-ESSAYS ON HYPERREAL PROTOTYPES

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ETYMOLOGICAL & DESCRIPTIVE WORD INDEX

PG 35

UNIT STAFF

PG 36

UNIT COLLABORATORS & SUPPORT STAFF

PG 40

METHODOLOGIES

PG 44

18+ SEMINAR SERIES

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SITE - SURFACE & 6 HAUNTED CASES

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M1 & M2 PERFORMANCE EXPECTATIONS

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MARKING PROCEDURES & RUBRIC

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NON-PERFORMANCE PROCEDURES

PG 57

DESIGN REALISATION EXPECTATIONS

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FINAL OUTPUT EXPECTATIONS

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REFERENCE LIST

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GENERAL RESOURCES / BLOGS

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6 KEY PROJECTS FROM THE CLASS OF 2020

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2021 COURSE PLANNER

absolute / afrosurrealism / afterlif / anticolony / appar i tion / archaeol / belonging / bona f ide / border / c / convincing / copy / counter fe i t / descendant / deep past / delineate / d issent / d isplace / double / djinn exper im ent / extension / extrareal / fam i lial / fatigue / f ight / fold / for / haunt / hidden / hybr id / hyperrea magical / make / mass-authentic / / model / mutation / mythological / or iginal / place-holder / parallel phantom / pioneers / placeholder / p preserve / prosthetic / prototype / rea / replica / retell / revenant / r i tual / spectre / sti tch / stolen / super flu sur face / surreal / surve i llance / th transfer / twin / uncer ta

fe / alien / ancestral / antecedents log y / ar ti f icial / authentic / avatar cer tain / change / colony / common cut / cyborg / dark conservation / / dependency / der ivative / detach / dual / echo / embalm / empi re / extraterrestr ial / facsim i le / fake / rer unners / future / genuine / ghost al / image / kept / limb / lineage / / m etastasis / m icrocosm / m i rror l / natural / occult / offshoot / old l / paranormal / parent / pattern / planetary / possession / post-fake / al / re i terate / relationship / remake l / robot / root / satelli te / shadow uous / superhuman / supernatural / hreshold / trace / transcendental / ain / unear thly / unmake

Drawing by Antony Gormley. 2019.

Right: Object detection and tracking technology developed by SenseTime . By Kiyoshi Ota & Bloomberg. 2018

FRAMING STATEMENT

UNIT LEADERS Naadira Patel & Sarah De Villiers UNIT ASSISTANT Nothando Lunga KEY COLLABORATORS Dr Huda Tayob (UCT) Endriana Audisho & Tova Lubinsky of Cities Under Surveillance (UTS) Pedram Dibazar (University of Amsterdam)

“The cyborg is a condensed image of both imagination and material reality, the two joined centres structuring any possibility of historical transformation - Donna Haraway Unit 18 is interested in contemporary structures of power which interject or envelop existing contexts, rupturing continuity with haunting otherwhere’s, and otherwhen’s: White paint over messages of the revolution in Tahrir Square, Cairo; an Italian-themed gambling complex in Johannesburg, a rapper’s masterplan for a net-zero city in Senegal. We take on the landscape of the hyperreal – spaces which are augmented, and quite strange – cities, buildings, and programmes which combine the original and localised; with the nonspecific, global, and replicated, often emboldened through machines and technology. Last year, our work aimed to reveal and recognise that which has been violently erased or altered in particular spatial contexts by these interjections. This year, Unit 18 shifts to study and reimagine the interjections themselves – which are often insurgent, alien, plastic, cyborg, and new. We ask - where do these come from, what are they made of, and why are they here? To begin to answer this, we claim surface as site. For our purposes, all of architecture is surface. Surfaces can hold that which is inside or outside a body, they can be a visual response to a gaze, they can define, order and identify use. Yet, surfaces can be spectral: they can be permeable, malleable, and plastic, they can reveal or conceal. Surfaces can tell the truth or lie. A surface is a dream of what the space wants to be, the fantasy or spectre of how space, building, or city wishes itself to be seen. The facade and screen become important architectural agents to understand and reimagine the creation of the virtual and the ‘dream’. The line between the model and the real, the authentic, and copy is blurred and haunted. Here, the morality of architectural surfacing is at stake, and we use this to interrogate and counter remnant legacies of coloniality and biased forces of power which have and continue to disenfranchise local communities, economic processes, and cultures through the controls of access and use, and erasure of ‘inconvenient’ bodies through surfacing. Supersurfaces will delve into research that tackles the way surfaces, skins and facades mediate, translate and transmute information, data, and history. We will attend a ghost-tour through a spectral,

virtual gaze, of six haunted ‘surfacings’ on our continent - that include Durban’s ‘Golden Mile’ - a landscape re-veneered to copy Miami’s beachfront; as well as sites in Senegal, Johannesburg, and the Eastern Cape in South Africa. . Supersurfaces draws inspiration from and links to the cinematic works and writings of Harun Farocki in questioning the role of the surface in framing our engagement with history and power; the works of writers such as Judith Butler, Sarah Ahmed, Arjun Appadurai, Donna Haraway, Avery Gordon, Walter Benjamin, Hito Steyerl, Ruha Benjamin, Michel Foucault, Michael Sorkin and the work of Forensic Architecture among others. Supersurfaces, as a broader research project, aims to engage with theoretical thinking about space; public, private, and political, through architecture and contemporary design. Methodologically, we use the architectural prototype – a device that is sited between the real and the hyperreal – for research and design. Architecture has thrived on the presence of the ghostly prototype: from phantom cities to model cities, prototypes that were never built, to mass-produced, globalised models. Here, we use it to simultaneously deconstruct (to lay bare the sometimes grotesque inner and underworkings of architecture), while also to speculate and test new arrangements. We prototype using several iterations of representation to show a passage of both evolution through time, and what is the remnant of the original, toward the augmented and altered. This is promoted through the bolstering of skills in the making of static or moving drawing, model and set-making, as well as virtual reality and film. We invite critical, experimental thinkers to contribute to pursue final propositions of new, rigorously considered, supersurfaces with their adjoining spaces or programmes, which communicate alternate positions towards the framing of power in overlapping and interjecting contemporary architectures or spatial systems, to be collated into a physically and virtually large-scale, projected Supersurface installation at its fruition.

11 MICRO-ESSAYS ON HYPERREAL PROTOTYPES

REFERENCES 1 - Robinson, A., 2010. The winter vault by Anne Michaels.. Melbourne: CAE Book Groups. 2- OMA, Hoolhaas, R, & Mau, B. 1995. S,M,L, XL. The Monacelli Press. 3- Peeren, E. 2014. The Spectral Metaphor : Living Ghosts and the Agency of Invisibility. Basingstoke: Palgrave Macmillan. 4- Baudrillard, J. 1994. Simulacra and Simulation. The University of Michigan Press

ORIGINS Home is our first real mistake. It is the one error that changes everything, the one lesson you could let destroy you. It is from this moment that we begin to build our home in the world. It is the place that we furnish with smell, taste, a talisman, a name. -1 “Disneyland is presented as imaginary in order to make us believe that the real (i.e the world outside Disneyland) is real., whereas in fact all of Los Angeles and the America surrounding it are no longer real, but of the order of hyperreal and of simulation” -2 HAUNTING Eighteen months after the salvage had begun, Ramses’ face, with his one-metre wide lips, was sliced just before the ears. He then suffered the indignity of acetate. His visage, Block #120, held by the steel rods that had been inserted in the top of his head, was slowly winched into the sky. - 1 “The specter stands for that which never simply is and thus escapes the totalizing logic of conventional cognitive and hermeneutic operations. It cannot be reduced to a straightforward genesis, chronology or finitude and insists on blurring multiple borders, between visibility and invisibility, past and present, materiality and immateriality, science and pseudo-science, religion and superstition, life and death, presence and absence, reality and imagination” -3 HYPERREAL All the work ceased as the huge head of Ramses slowly ascended on wires invisible in the sunlight. As thirty tonnes of stone seemed to ascend, hover, float in the air, the entire camp, three thousand men, stood silent and watched. Today abstraction is no longer that of the map, the double, the mirror, or the concept. Simulation is no longer that of a territory, a referential being, or a substance. It is the generation by models of a real without origin or reality: a hyperreal. The territory no longer precedes the map, nor does it survive it. It is nevertheless the map that precedes the territory–precession of simulacra–that engenders the territory, and if one must return to the fable, today it is the territory whose shreds slowly rot across the extent of the map. It is the real, and not the map, whose vestiges persist here and there in the deserts that are no longer those of the Empire, but ours. The desert of the real itself -4

11 MICRO-ESSAYS ON HYPERREAL PROTOTYPES

REFERENCES 3 - Spinoza, B., n.d. Ethics Part V Proposition XIII, Proof. 4- Morrison, T., 2006. Beloved. Westminster, MD: Books on Tape, p.35. 5 - Spinoza, B., n.d. Ethics Part V Proposition XIII, Proof. 6- Berger, J., 2012. Ways of seeing. London: British Broadcasting Corp. 7- Anthony Bogues 8- Gordon, A., 2011. Ghostly matters. Minneapolis: University of Minnesota Press.

TRANSFER The more an image is joined with many other things, the more it flourishes. - 3 First a playroom (where the silence was softer), then a refuge (from her brother’s fright), soon the place became the point. Veiled and protected by the live green walls, she felt ripe and clear, and salvation was as easy as wish. -4 How many ways can you splice a history? Price a country? Dice a people? Slice a heart? Entice what’s been erased back into story? mygritude. -12 COPY We sense and experience that we are eternal. For the mind no less senses those things which it conceives in understanding than those which it has in memory. For the eyes of the mind by which it sees things and observes them are proofs. So although we do not remember that we existed before the body, we sense nevertheless that our mind in so far as it involves the essence of the body under a species of eternity is eternal and its existence cannot be defined by time or explained by duration. -5 The city of Sophronia is made up of two half-cities. In one there is the great roller coaster with its steep humps, the carousel with its chain spokes, the Ferris wheel of spinning cages, the death-ride with crouching motorcyclists, the big top with the clump of trapezes hanging in the middle. The other half-city is of stone and marble and cement, with the bank, the factories, the palaces, the slaughterhouse, the school, and all the rest. One of the half-cities is per- manent, the other is temporary, and when the period of its sojourn is over, they uproot it, dismantle it, and take it off, transplanting it to the vacant lots of another half-city. -15 PROTOTYPE Can a drawing replace a noun? - 6 And what about the human? “- a prototype is an original model on which something is patterned. - the first example of something, such as a machine or other industrial product, from which all later forms are developed.” i.e. a prototypical jazz singer”- 15

11 MICRO-ESSAYS ON HYPERREAL PROTOTYPES

REFERENCES 9 - Hurston, Z. and Danticat, E., n.d. Their eyes were watching God. 10- Baudrillard, J. and Glaser, S., n.d. Simulacra and simulation. 15- Cambridge Dictionary. n.d. [online] Available at: <https://dictionary.cambridge.org/>

MODEL We need to know where we live to imagine living elsewhere. We need to imagine living elsewhere before we can live there. -8 GHOST All night now the jooks clanged and clamored. Pianos living three lifetimes in one. Blues made and used right on the spot. Dancing, fighting, singing, crying, laughing, winning and losing love every hour. Work all day for money, fight all night for love. The rich black earth clinging to bodies and biting the skin like ants. ... They made good money, even to the children. So they spent good money. Next month and next year were other times. No need to mix them with the present. - 9 ...cajoling is the nature of the ghost, the very distinctions between there and not there, past and present, force and shape. -5 DEEP FUTURE This is a project where finding the shape described by her absence captures perfectly the paradox of tracking through time and across all those forces that which makes its mark by being there and not there at the same time. - 8 SURFACE “...superfluity does not refer only to the aesthetics of surfaces and quantities, and to how such an aesthetics is premised on the capacity of things to hypnotize, overexcite, or paralyze the senses [...] superfluity refers also to the dialectics of indispensability and expendability of both labor and life, people and things. It refers to the obfuscation of any exchange or use value that labor might have, and to the emptying of any meaning that might be attached to the act of measurement or quantification itself, insofar as numerical representation is as much a fact as it is a form of fantasy.

11 MICRO-ESSAYS ON HYPERREAL PROTOTYPES

11 - Gumbs, A., 2018. M Archive: After the End of the World. 1st ed. Duke University Press Books.,

we broke the earth and now we fall through time. deep gashes in the ground. we scale the edges of our knowing... what we stand on is not masonry. it is the torn place unhealed. the footholds come from how unclean the break. -11

12- Patel, S., n.d. Migritude. New York: Kaya Press.

has your skin ever craved a texture you could not name? - 12

13- Lorde, A., 1977. Poetry Is Not a Luxury.

This is a struggle over life and death, but the boundary between science fiction and social reality is an optical illusion.-14

REFERENCES

14- Haraway, D., 1985. Cyborg Manifesto. 15- Calvino, I., Weaver, W. and Calvino, I., 1972. Invisible cities. 16- Mbembe, A., 2004. Aesthetics of Superfluity. Public Culture, 16(3), pp.373-405. 17- Dibazr, P. and Naeff, J., n.d. Visualising the street.

IMAGE “These would be the successive phases of the image: it is the reflection of a profound reality. it masks and denatures a profound reality. it masks the absence of a profound reality. it has no relation to any reality whatever: it is its own pure simulacrum”. - 10 We need to imagine living elsewhere before we can live there. - 5 Because Poetry is not a luxury. -13 Can a drawing replace a noun? - 6 Have you ever taken a word in your hand, dared to shape your palm to the hollow where the fullness falls away? -12 The eye does not see things but images of things that mean other things -15 From one part to the other, the city seems to continue, in perspective, multiplying its repertory of images: but instead it has no thickness, it consists only of a face and an obverse, like a sheet of paper, with a figure on either side, which can neither be separated nor look at each other. -15 [...] in the experience of the contemporary street, the spatial and the visual converge on multiple levels. On a manifest level, images complement the spatial as they create urban façades and shape the visual appearance of the streets. The 21st century urban experience is hugely influenced by the proliferation of signs, billboards, advertisements, posters, stickers and graffiti in and around streets. ... On another level, digital visual materials have become embedded in the embodied experience of the contemporary street, as one walks through it equipped with smart devices. To navigate in the street these days, we rely on interactive maps that show us routes and position us in them, and we ceaselessly complement our direct experiences of the street with images and information we find online. Digital technologies’ capacity to gather data and transform codes into legible signs and images, and vice versa, is crucial in this respect.

ETYMOLOGICAL & DESCRIPTIVE WORD INDEX

REFERENCES 1 - In: Merriam Webster Dictionary. 2021. Access. [online] Available at: <http://merriam-webster.com> [Accessed 2 April 2021]. 2 - In: Merriam Webster Dictionary. 2021. Authentic. [online] Available at: <http://merriam-webster.com> [Accessed 2 April 2021].

ACCESS etymology: early 14c., “an attack of fever,” from Old French acces “onslaught, attack; onset (of an illness)” (14c.), from Latin accessus “a coming to, an approach; way of approach, entrance,” noun use of past participle of accedere “to approach,” from assimilated form of ad “to” (see ad-) + cedere “go, move, withdraw” (from PIE root *ked“to go, yield”). English sense of “an entrance” (c. 1600) is directly from Latin. Meaning “habit or power of getting into the presence of (someone or something)” is from late 14c. definition: (n) a: permission, liberty, or ability to enter, approach, or pass to and from a place or to approach or communicate with a person or thing Investigators wanted to get access to his home. consultants who have easy access to the presidentb: freedom or ability to obtain or make use of something paying for access to the Intern etc: a way or means of entering or approaching A canal provides access to the river .a building that provides wheelchair access [=a way for people in wheelchairs to enter]d: the act or an instance of accessing something 2a: ONSET sense 2an access of illness. b: a fit of intense feeling : OUTBURST If it had been in Tito’s nature to feel an access of rage, he would have felt it against this bull-faced accomplice.— George Eliot 3: an increase by addition (v) a: to be able to use, enter, or get near (something) accessed the computer by phone a system that makes it easier to access the money in your bank account b: to open or load (a computer file, an Internet site, etc.) a file that can be accessed by many users at the same time AUTHENTIC etymology: mid-14c., autentik, “authoritative, duly authorized” (a sense now obsolete), from Old French autentique “authentic; canonical” (13c., Modern French authentique) and directly from Medieval Latin authenticus, from Greek authentikos “original, genuine, principal,” from authentes “one acting on one’s own authority,” from autos “self” (see auto-) + hentes “doer, being,” from PIE root *sene- (2) “to accomplish, achieve.” Sense of “real, entitled to acceptance as factual” is first recorded mid-14c.

ETYMOLOGICAL & DESCRIPTIVE WORD INDEX

REFERENCES 1 - In: Merriam Webster Dictionary. 2021. Artificial. [online] Available at: <http://merriam-webster.com> [Accessed 2 April 2021].

Traditionally in modern use, authentic implies that the contents of the thing in question correspond to the facts and are not fictitious (hence “trustworthy, reliable”); while genuine implies that the reputed author is the real one and that we have it as it left the author’s hand (hence “unadulterated”); but this is not always maintained: “The distinction which the 18th c. apologists attempted to establish between genuine and authentic ... does not agree well with the etymology of the latter word, and is not now recognized” [OED]. definition: (adj) 1a: worthy of acceptance or belief as conforming to or based on fact paints an authentic picture of our society. b: conforming to an original so as to reproduce essential features an authentic reproduction of a colonial farmhouse. c: made or done the same way as an original authentic Mexican fare 2: not false or imitation: REAL, ACTUAL an authentic cockney accent 3: true to one’s own personality, spirit, or characteri s sincere and authentic with no pretensions 4aof a church mode : ranging upward from the keynote— compare PLAGAL sense 1bof a cadence : progressing from the dominant chord to the tonic— compare PLAGAL sense 2 5obsolete : AUTHORITATIVE ARTIFICIAL etymology: (adj.) late 14c., “not natural or spontaneous,” from Old French artificial, from Latin artificialis “of or belonging to art,” from artificium “a work of art; skill; theory, system,” from artifex (genitive artificis) “craftsman, artist, master of an art” (music, acting, sculpting, etc.), from stem of ars “art” (see art (n.)) + -fex “maker,” from facere “to do, make” (from PIE root *dhe- “to set, put”). Earliest use in English is in the phrase artificial day “part of the day from sunrise to sunset” (as opposed to the natural day of 24 hours). Meaning “made by man, contrived by human skill and labor” is from early 15c. The word was applied from 16c. to anything made in imitation of, or as a substitute for, what is natural, whether real (light, tears) or not (teeth, flowers). Meaning “fictitious, assumed, not genuine” is from 1640s; that of “full of affectation, insincere” is from 1590s. Artificial insemination dates from 1894. Artificial intelligence “the science and engineering of making intelligent machines” was coined in 1956.

ETYMOLOGICAL & DESCRIPTIVE WORD INDEX

REFERENCES 1 - In: Merriam Webster Dictionary. 2021. Clandestine. [online] Available at: <http://merriam-webster.com> [Accessed 2 April 2021].

definition: (adj) 1: humanly contrived (see CONTRIVE sense 1b) often on a natural model : MAN-MADE an artificial limb artificial diamonds 2a: having existence in legal, economic, or political theory. b: caused or produced by a human and especially social or political agency an artificial price advantage Within these companies, qualified women run into artificial barriers that prevent them from advancing to top positions in management.— James J. Kilpatrick 3a: lacking in natural or spontaneous quality an artificial smile an artificial excitement. b: IMITATION, SHAM. artificial flavor 4: based on differential morphological characters not necessarily indicative of natural relationships an artificial key for plant identification CLANDESTINE etymology: “secret, private, hidden, furtive,” 1560s, from Latin clandestinus “secret, hidden,” from clam “secretly,” from adverbial derivative of base of celare “to hide” (from PIE root *kel- (1) “to cover, conceal, save”), perhaps on model of intestinus “internal.” Related: Clandestinely. As a noun form, there is awkward clandestinity (clandestineness apparently being a dictionary word). *kel- (1) Proto-Indo-European root meaning “to cover, conceal, save.” It is the hypothetical source of/evidence for its existence is provided by: Sanskrit cala “hut, house, hall;” Greek kalia “hut, nest,” kalyptein “to cover,” koleon, koleos “sheath,” kelyphos “shell, husk;” Latin cella “small room, store room, hut,” celare “to hide, conceal,” clam “secret,” clepere “to steal, listen secretly to;” Old Irish cuile “cellar,” celim “hide,” Middle Irish cul “defense, shelter;” Gothic hulistr “covering,” Old English heolstor “lurking-hole, cave, covering,” Gothic huljan “to cover over,” hulundi “hole,” hilms “helmet,” halja “hell,” Old English hol “cave,” holu “husk, pod;” Old Prussian auklipts “hidden;” Old Church Slavonic poklopu “cover, wrapping.” definition: (adj.) marked by, held in, or conducted with secrecy : SURREPTITIOUS

ETYMOLOGICAL & DESCRIPTIVE WORD INDEX

REFERENCES 1 - In: Merriam Webster Dictionary. 2021. Ghost. [online] Available at: <http://merriam-webster.com> [Accessed 2 April 2021].

CYBORG etymology “a man-machine hybrid, a human modified by integrated machinery to have extended powers,” 1960, a blend of the first elements of cybernetic and organism. definition: (n): a bionic human GHOST etymology Old English gast “breath; good or bad spirit, angel, demon; person, man, human being,” in Biblical use “soul, spirit, life,” from ProtoWest Germanic *gaistaz (source also of Old Saxon gest, Old Frisian jest, Middle Dutch gheest, Dutch geest, German Geist “spirit, ghost”). This is conjectured to be from a PIE root *gheis-, used in forming words involving the notions of excitement, amazement, or fear (source also of Sanskrit hedah “wrath;” Avestan zaesha“horrible, frightful;” Gothic usgaisjan, Old English gæstan “to frighten”). Ghost is the English representative of the usual West Germanic word for “supernatural being.” In Christian writing in Old English it is used to render Latin spiritus (see spirit (n.)), a sense preserved in Holy Ghost. Sense of “disembodied spirit of a dead person,” especially imagined as wandering among the living or haunting them, is attested from late 14c. and returns the word toward its likely prehistoric sense. Most Indo-European words for “soul, spirit” also double with reference to supernatural spirits. Many have a base sense of “appearance” (such as Greek phantasma; French spectre; Polish widmo, from Old Church Slavonic videti “to see;” Old English scin, Old High German giskin, originally “appearance, apparition,” related to Old English scinan, Old High German skinan “to shine”). Other concepts are in French revenant, literally “returning” (from the other world), Old Norse aptr-ganga, literally “back-comer.” Breton bugelnoz is literally “night-child.” Latin manes probably is a euphemism. definition Definition of ghost (Entry 1 of 2) 1: the seat of life or intelligence : SOUL give up the ghost 2: a disembodied soul especially : the soul of a dead person believed

ETYMOLOGICAL & DESCRIPTIVE WORD INDEX

REFERENCES 1 - In: Merriam Webster Dictionary. 2021. Horror. [online] Available at: <http://merriam-webster.com> [Accessed 2 April 2021]. 2 - In: Merriam Webster Dictionary. 2021. Hommage. [online] Available at: <http://merriam-webster.com> [Accessed 2 April 2021].

to be an inhabitant of the unseen world or to appear to the living in bodily likeness 3: SPIRIT, DEMON 4a: a faint shadowy trace a ghost of a smile b: the least bit not a ghost of a chance 5: a false image in a photographic negative or on a television screen caused especially by reflection 6: one who ghostwrites 7: a red blood cell that has lost its hemoglobin HORROR etymology early 14c., “feeling of disgust;” late 14c., “emotion of horror or dread,” also “thing which excites horror,” from Old French horror (12c., Modern French horreur) and directly from Latin horror “dread, veneration, religious awe,” a figurative use, literally “a shaking, trembling (as with cold or fear), shudder, chill,” from horrere “to bristle with fear, shudder,” from PIE root *ghers- “to bristle” (source also of Sanskrit harsate “bristles,” Avestan zarshayamna- “ruffling one’s feathers,” Latin eris (genitive) “hedgehog,” Welsh garw “rough”). Also formerly in English “a shivering,” especially as a symptom of disease or in reaction to a sour or bitter taste (1530s); “erection of the hairs on the skin” (1650s); “a ruffling as of water surface” (1630s). As a genre in film, 1934. Chamber of horrors originally (1849) was a gallery of notorious criminals in Madame Tussaud’s wax exhibition. Other noun forms are horribility (14c., now rare or disused), horribleness (late 14c.), horridity (1620s), horridness (1610s). definition 1a: painful and intense fear, dread, or dismay astonishment giving place to horror on the faces of the people about me— H. G. Wellsb: intense aversion or repugnance 2a: the quality of inspiring horror : repulsive, horrible, or dismal quality or character contemplating the horror of their lives— Liam O’Flahertyb: something that inspires horror HOMMAGE etymology c. 1300, “ceremony or act of acknowledging one’s faithfulness to a feudal lord; feudal allegiance,” earlier “body of vassals of a feudal

ETYMOLOGICAL & DESCRIPTIVE WORD INDEX

REFERENCES 1 - Hyperreality

king” (early 13c.), from Old French omage, homage “allegiance or respect for one’s feudal lord” (12c., Modern French hommage), from homme “man,” in Medieval Latin “a vassal,” from Latin homo (genitive hominis) “man” (see homunculus). Figurative sense of “reverence, honor shown” is from late 14c. definition 1a: a feudal ceremony by which a man acknowledges himself the vassal of a lordb: the relationship between a feudal lord and his vassalc: an act done or payment made in meeting the obligations due from a vassal to a feudal lord 2a: expression of high regard : RESPECTbowed in homage to the king—often used with payHer work pays homage to women artists of the past.b: something that shows respect or attests to the worth or influence of another : TRIBUTEhis long life filled with international homages to his unique musical talent— People HYPERREALITY Hyperreality, in semiotics and postmodernism, is an inability of consciousness to distinguish reality from a simulation of reality, especially in technologically advanced postmodern societies.[1] Hyperreality is seen as a condition in which what is real and what is fiction are seamlessly blended together so that there is no clear distinction between where one ends and the other begins.[2] It allows the co-mingling of physical reality with virtual reality (VR) and human intelligence with artificial intelligence (AI).[2] The postmodern semiotic concept of “hyperreality” was contentiously coined by French sociologist Jean Baudrillard in Simulacra and Simulation.[3] Baudrillard defined “hyperreality” as “the generation by models of a real without origin or reality”;[4] hyperreality is a representation, a sign, without an original referent. According to Baudrillard, the commodities in this theoretical state do not have use-value as defined by Karl Marx but can be understood as signs as defined by Ferdinand de Saussure. [5] He believes hyperreality goes further than confusing or blending the ‘real’ with the symbol which represents it; it involves creating a symbol or set of signifiers which represent something that does not actually exist, like Santa Claus. Baudrillard borrows, from Jorge Luis Borges’ “On Exactitude in Science” (already borrowed from Lewis Carroll), the example of a society whose cartographers create a map so detailed that it covers the very things it was designed to represent. When the empire declines, the map fades into the landscape.[6] He says that, in such a case, neither the representation nor the real remains, just the hyperreal.

ETYMOLOGICAL & DESCRIPTIVE WORD INDEX

REFERENCES 1 - 1 - In: Merriam Webster Dictionary. 2021. Image [online] Available at: <http://merriam-webster.com> [Accessed 2 April 2021].

IMAGE etymology c. 1200, “piece of statuary; artificial representation that looks like a person or thing,” from Old French image “image, likeness; figure, drawing, portrait; reflection; statue,” earlier imagene (11c.), from Latin imaginem (nominative imago) “copy, imitation, likeness; statue, picture,” also “phantom, ghost, apparition,” figuratively “idea, appearance,” from stem of imitari “to copy, imitate” (from PIE root *aim- “to copy”). Meaning “reflection in a mirror” is early 14c. The mental sense was in Latin, and appears in English late 14c. Sense of “public impression” is attested in isolated cases from 1908 but not in common use until its rise in the jargon of advertising and public relations, c. 1958. To þe ymage of god he made hym [Genesis i.27, Wycliffite Bible, early version, 1382] definition (n) 1a: a visual representation of something: such as (1): a likeness of an object produced on a photographic material (2): a picture produced on an electronic display (such as a television or computer screen) b: the optical counterpart of an object produced by an optical device (such as a lens or mirror) or an electronic device 2a(1): a mental picture or impression of something had a negative body image of herself (2): a mental conception held in common by members of a group and symbolic of a basic attitude and orientation. a disorderly courtroom can seriously tarnish a community’s image of justice b: IDEA, CONCEPT 3: a popular conception (as of a person, institution, or nation) projected especially through the mass media promoting a corporate image of brotherly love and concern— R. C. Buck 4a: exact likeness: SEMBLANCE God created man in his own image— Genesis 1:27 (Revised Standard Version)b: a person strikingly like another person she is the image of her mother 5a: a tangible or visible representation: INCARNATION the image of filial devotion. b: archaic: an illusory form: APPARITION 6: a vivid or graphic representation or description 7: a reproduction or imitation of the form of a person or thing especially : an imitation in solid form: STATUE 8: FIGURE OF SPEECH 9: a set of values given by a mathematical function (such as a

ETYMOLOGICAL & DESCRIPTIVE WORD INDEX

REFERENCES 1 - In: Merriam Webster Dictionary. 2021. Labour. [online] Available at: <http://merriam-webster.com> [Accessed 2 April 2021].

homomorphism) that corresponds to a particular subset of the domain image verb imaged; imaging (v) 1a: to create a representation of also: to form an image of imaged Jupiter’s rings image the bone using X-rays b: to represent symbolically 2: to call up a mental picture of: IMAGINE 3: to describe or portray in language especially in a vivid manner 4a: REFLECT, MIRROR b: to make appear: PROJECT 5: to make a disk image of many computer forensics programs now include the option of imaging a suspect drive. LABOUR etymology c. 1300, “a task, a project” (such as the labors of Hercules); later “exertion of the body; trouble, difficulty, hardship” (late 14c.), from Old French labor “toil, work, exertion, task; tribulation, suffering” (12c., Modern French labeur), from Latin labor “toil, exertion; hardship, pain, fatigue; a work, a product of labor,” a word of uncertain origin. Some sources venture that it could be related to labere “to totter” on the notion of “tottering under a burden,” but de Vaan finds this unconvincing. The native word is work. Meaning “body of laborers considered as a class” (usually contrasted to capitalists) is from 1839; for the British political sense see labour. Sense of “physical exertions of childbirth” is attested from 1590s, short for labour of birthe (early 15c.); the sense also is found in Old French, and compare French en travail “in (childbirth) suffering” (see travail). Labor Day was first marked 1882 in New York City. The prison labor camp is attested from 1900. Labor-saving (adj.) is from 1776. Labor of love is by 1797. definition (n) compulsorywas sentenced to six months at hard labor b(1): the services performed by workers for wages as distinguished from those rendered by entrepreneurs for profits (2): human activity that provides the goods or services in an economyIndustry needs labor for production. c: the physical activities (such as dilation of the cervix and contraction of the uterus) involved in giving birthalso : the period of

ETYMOLOGICAL & DESCRIPTIVE WORD INDEX

REFERENCES 1 - 1 - In: Merriam Webster Dictionary. 2021. Model. [online] Available at: <http://merriam-webster.com> [Accessed 2 April 2021].

such labor 2a: an economic group comprising those who do manual labor or work for wageswants the vote of labor in the electionsb: the organizations or officials representing groups of workers negotiations between labor and management c(1): workers employed in an establishment (2): workers available for employment Immigrants provided a source of cheap labor. 3usually Labour : the Labour party of the United Kingdom or of another part of the Commonwealth of Nations 4: an act or process requiring labor : TASK The three-month project evolved into a year-long labor. 5: a product of laborThe flood destroyed the labor of years. MODEL etymology 1570s, “likeness made to scale; architect’s set of designs,” from French modelle (16c., Modern French modèle), from Italian modello “a model, mold,” from Vulgar Latin *modellus, from Latin modulus “a small measure, standard,” diminutive of modus “manner, measure” (from PIE root *med- “take appropriate measures”). Sense of “a standard for imitation or comparison, thing or person that serves or may serve as a pattern or type” is from 1630s. definition (n) 1: a usually miniature representation of something a plastic model of the human heart also : a pattern of something to be made 2a: a type or design of product (such as a car)offers eight new models for next year, including a completely restyled convertible. b: a type or design of clothing girls, self-conscious in their Paris models— Paul Bowles 3: a system of postulates, data, and inferences presented as a mathematical description of an entity or state of affairs also: a computer simulation (see SIMULATION sense 3a) based on such a system climate models 4: ARCHETYPE 5: an example for imitation or emulation his written addresses are models of clearness, logical order, and style— A. B. Noble 6: one who is employed to display clothes or other merchandise has appeared as a model in ads for swimsuits 7: a person or thing that serves as a pattern for an artist especially : one who poses for an artist His wife served as the model for many of his paintings. 8: VERSION sense 2an experimental model of a bionic arm 9: a description or analogy used to help visualize something (such as

ETYMOLOGICAL & DESCRIPTIVE WORD INDEX

REFERENCES 1 - 1 - In: Merriam Webster Dictionary. 2021. Prototype. [online] Available at: <http://merriam-webster.com> [Accessed 2 April 2021].

an atom) that cannot be directly observed 10: structural designa home on the model of an old farmhouse 11: an organism whose appearance a mimic imitates 12: ANIMAL MODEL 13dialectal British : COPY, IMAGE 14obsolete : a set of plans for a building (v) 1: to construct or fashion in imitation of a particular model modelled its constitution on that of the U.S. 2a: to shape or fashion in a plastic material modeling figures from clay. b: to produce a representation or simulation (see SIMULATION sense 3a) of using a computer to model a problem 3: to display by wearing, using, or posing with modeled gowns 4: to plan or form after a pattern: SHAPElegislative institutions primarily modelled on the English pattern 5 archaic: to make into an organization (such as an army, government, or parish) (v) 1: to work or act as a fashion or art mode. lEach contestant modelled in front of the judges. 2: to design or imitate forms: make a pattern. The students are modelling in clay. (adj) 1: serving as or capable of serving as a patterna model student 2: being a usually miniature representation of somethinga model airplane PROTOTYPE etymology a primitive form, original, or model after which anything is formed,” c. 1600, from French prototype (16c.) and directly from Medieval Latin prototypus “original, primitive,” from Greek pr totypon “a first or primitive form,” noun use of neuter singular of pr totypos “original, primitive,” from pr tos “first” (see proto-) + typos “impression, mold, pattern” (see type (n.)). In English from 1590s as prototypon. definition(n) 1: an original model on which something is patterned : ARCHETYPE

ETYMOLOGICAL & DESCRIPTIVE WORD INDEX

REFERENCES 1 - In: Merriam Webster Dictionary. 2021. Root. [online] Available at: <http://merriam-webster.com> [Accessed 2 April 2021].

2: an individual that exhibits the essential features of a later type 3: a standard or typical example 4: a first full-scale and usually functional form of a new type or design of a construction (such as an airplane) ROOT etymology “underground part of a plant,” late Old English rot, from a Scandinavian source akin to Old Norse rot “root,” figuratively “cause, origin,” from Proto-Germanic *wrot (source also of Old English wyrt “root, herb, plant,” Old High German wurz, German Wurz “a plant,” Gothic waurts “a root,” with characteristic Scandinavian loss of -w- before -r-), from PIE root *wr d- “branch, root.” The usual Old English words for “root” were wyrttruma and wyrtwala. Figurative use is from c. 1200. Of teeth, hair, etc., from early 13c. Mathematical sense is from 1550s. Philological sense from 1520s. Slang meaning “penis” is recorded from 1846. In African-American vernacular use, “a spell effected by magical properties of roots,” 1935. To take root is from 1530s. Root beer, made from the extracts of various roots, first recorded 1841, American English; root doctor is from 1821. Root cap is from 1875. definition (n) 1a: the usually underground part of a seed plant body that originates usually from the hypocotyl, functions as an organ of absorption, aeration, and food storage or as a means of anchorage and support, and differs from a stem especially in lacking nodes, buds, and leaves b: any subterranean plant part (such as a true root or a bulb, tuber, rootstock, or other modified stem) especially when fleshy and edible 2a: the part of a tooth within the socket also : any of the processes into which this part is often divided— see TOOTH ILLUSTRATION b: the enlarged basal part of a hair within the skin c: the proximal end of a nerved: the part of an organ or physical structure by which it is attached to the body the root of the tongue 3a: something that is an origin or source (as of a condition or quality)the love of money is the root of all evil— 1 Timothy 6:10 (King James Version)b: one or more progenitors of a group of descendants —usually used in plural c: an underlying support : BASIS d: the essential core : HEART —often used in the phrase at root e: close relationship with an environment : TIE —usually used in pluralt hey put down roots in a farming community 4a: a quantity taken an indicated number of times as an equal factor2 is a fourth root of 16b: a number that reduces an equation to

ETYMOLOGICAL & DESCRIPTIVE WORD INDEX

REFERENCES 1 - In: Merriam Webster Dictionary. 2021. Strange. [online] Available at: <http://merriam-webster.com> [Accessed 2 April 2021].

an identity when it is substituted for one variable 5a: the lower part : BASE b: the part by which an object is attached to something else 6: the simple element inferred as the basis from which a word is derived by phonetic change or by extension (such as composition or the addition of an affix or inflectional ending) 7: the lowest tone of a chord (such as C in a C minor chord) when the tones are arranged in ascending thirds 8computers : a level of access to a computer system that allows complete access to files on the system and complete control over the system’s functions —usually used before another noun root use rroot directory (v. trans) 1a: to furnish with or enable to develop roots b: to fix or implant by or as if by roots 2: to remove altogether by or as if by pulling out by the roots — usually used with outroot out dissenters (v. intrans) 1: to grow roots or take root 2: to have an origin or base STRANGE etymology late 13c., straunge, “from elsewhere, foreign, unknown, unfamiliar, not belonging to the place where found,” from Old French estrange “foreign, alien, unusual, unfamiliar, curious; distant; inhospitable; estranged, separated” (Anglo-French estraunge, strange, straunge; Modern French étrange), from Latin extraneus “foreign, external, from without” (source also of Italian strano “strange, foreign,” Spanish extraño), from extra “outside of” (see extra-). In early use also strounge. The surname Lestrange is attested from late 12c. Sense of “queer, surprising” is attested from c. 1300, also “aloof, reserved, distant; estranged.” In nuclear physics, from 1956. definition (adj) 1a: different from what is usual, ordinary, or expected : ODDb: not before known, heard, or seen : UNFAMILIAR 2a: not entirely comfortable or well : UNCOMFORTABLE, ILL AT EASE

ETYMOLOGICAL & DESCRIPTIVE WORD INDEX

REFERENCES 1 - In: Merriam Webster Dictionary. 2021. Super. [online] Available at: <http://merriam-webster.com> [Accessed 2 April 2021].

b dated : discouraging familiarities : RESERVED, DISTANT 3: UNACCUSTOMED sense 2 4a: not native to or naturally belonging in a place : of external origin, kind, or characterbarchaic : of, relating to, or characteristic of another country : FOREIGN SUPER: word-forming element meaning “above, over, beyond,” from Latin super (adverb and preposition) “above, over, on the top (of), beyond, besides, in addition to,” from *(s)uper-, variant form of PIE root *uper “over.” In English words from Old French, it appears as sur-. The primary sense seems to have shifted over time from usually meaning “beyond” to usually meaning “very much,” which can be contradictory. E.g. supersexual, which is attested from 1895 as “transcending sexuality,” from 1968 as “very sexual.” -2 definition (adj) 1: of high grade or quality b—used as a generalized term of approval a super cook 2: very large or powerful a super atomic bomb 3: exhibiting the characteristics of its type to an extreme or excessive degree super secrecy super- prefix 1

a (1): over and above : higher in quantity, quality, or degree than : more than // superhuman (2): in addition : extra // supertax b (1): exceeding or so as to exceed a norm // superheat (2): in or to an extreme or excessive degree or intensity // supersubtle c: surpassing all or most others of its kind // superhighway

a: situated or placed above, on, or at the top of // superlunary b: next above or higher // supertonic

having the (specified) ingredient present in a large or unusually large proportion // superphosphate constituting a more inclusive category than that specified // superfamily superior in status, title, or position // superpower

4: 5:

ETYMOLOGICAL & DESCRIPTIVE WORD INDEX

REFERENCES 1 - In: Merriam Webster Dictionary. 2021. Surface. [online] Available at: <http://merriam-webster.com> [Accessed 2 April 2021].

SURFACE etymology 1610s, from French surface “an outermost boundary, outside part” (16c.), from Old French sur- “above” (see sur-) + face (see face (n.)). Patterned on Latin superficies “surface, upper side, top” (see superficial). As an adjective from 1660s. definition (n) 1 : the exterior or upper boundary of an object or body on the surface of the water the earth’s surface 2: a plane or curved two-dimensional locus of points (such as the boundary of a three-dimensional region) plane surface surface of a sphere 3a: the external or superficial aspect of something trouble lurks below the surface b: an external part or layer sanded the rough surfaces on the surface c: to all outward appearances (adj) 1a: of, located on, or designed for use at the surface of something b: situated, transported, or employed on the surface of the earth surface mail surface vehicles 2: appearing to be such on the surface only : SUPERFICIAL (v.trans) 1: to give a surface to: such asa: to plane or make smooth. b: to apply the surface layer tosurface a highway 2: to bring to the surface surface a sunken ship (v. intrans) 1: to work on or at the surface 2: to come to the surface 3: to come into public view : SHOW UP letters that have recently surfaced

ETYMOLOGICAL & DESCRIPTIVE WORD INDEX

REFERENCES 1 - 1 - In: Merriam Webster Dictionary. 2021. Threshold. [online] Available at: <http://merriam-webster.com> [Accessed 2 April 2021]. 2 - 1 - In: Merriam Webster Dictionary. 2021. Virtual Reality. [online] Available at: <http://merriam-webster.com> [Accessed 2 April 2021].

THRESHOLD etymology Old English þrescold, þærscwold, þerxold, etc., “door-sill, point of entering,” a word of uncertain origin and probably much altered by folk-etymology. The first element probably is related to Old English þrescan (see thresh), either in its current sense of “thresh” or with its original sense of “to tread, trample.” The second element has been much transformed in all the Germanic languages, suggesting its literal sense was lost even in ancient times. In English it probably has been altered to conform to hold. Liberman (Oxford University Press blog, Feb. 11, 2015) revives an old theory that the second element is the Proto-Germanic instrumental suffix *-thlo and the original sense of threshold was a threshing area adjacent to the living area of a house. Cognates of the compound include Old Norse þreskjoldr, Swedish tröskel, Old High German driscufli, German dialectal drischaufel. The figurative use was present in Old English. definition (n) 1: the plank, stone, or piece of timber that lies under a door: SILL 2a: GATE, DOOR b(1): END, BOUNDARY specifically: the end of a runway (2): the place or point of entering or beginning: OUTSETon the threshold of a new age 3a: the point at which a physiological or psychological effect begins to be produced has a high threshold for pain. b: a level, point, or value above which something is true or will take place and below which it is not or will not VIRTUAL REALITY etymology Virtual reality first used in 1987. reality (n.)1540s, “quality of being real,” from French réalité and directly Medieval Latin realitatem (nominative realitas), from Late Latin realis (see real (adj.)). Meaning “real existence, all that is real” is from 1640s; that of “the real state (of something)” is from 1680s. Sometimes 17c.-18c. also meaning “sincerity.” Reality-based attested from 1960. Reality television from 1991. virtual (adj.)

ETYMOLOGICAL & DESCRIPTIVE WORD INDEX

late 14c., “influencing by physical virtues or capabilities, effective with respect to inherent natural qualities,” from Medieval Latin virtualis, from Latin virtus “excellence, potency, efficacy,” literally “manliness, manhood” (see virtue). The meaning “being something in essence or effect, though not actually or in fact” is from mid-15c., probably via sense of “capable of producing a certain effect” (early 15c.). Computer sense of “not physically existing but made to appear by software” is attested from 1959. definition (n) : an artificial environment which is experienced through sensory stimuli (such as sights and sounds) provided by a computer and in which one’s actions partially determine what happens in the environment also : the technology used to create or access a virtual reality

Hito Steyerl: How Not To Be Seen. A Fucking Didactic Educational.MOV File, 2013, Factory of the Sun, 2015

UNIT STAFF

UNIT LEADER Naadira Patel

Naadira is an artist, designer, and researcher. She currently leads studiostudioworkwork, a multidisciplinary art, research, and design studio covering a range of publishing-related practices with a focus on issues of social justice, new surveillance landscapes, and questions surrounding productivity and work. She has an MA in Cultural Analysis (2015) from the University of Amsterdam’s School for Cultural Analysis and a BA in Fine Arts (2010) from the Wits School of Arts. Naadira has previously taught in the Fine Art departments of the Wits School of Arts and Rhodes University. Her research areas cover issues arising from new forms of technology that shape, manipulate or augment our experiences of and our existence within the world; emerging forms of surveillance capitalism; and questions on the new world of work, with a focus on ideas of precarious labour, productivity, and exhaustion. studiostudioworkwork.co.za

UNIT LEADER Sarah de Villiers

Sarah currently leads SpaceKIOSK – a multidisciplinary architecture, research, and design studio which is fascinated with spatial apparitions of social, political, and economic transaction. She formerly had contributed for six years as a founder, director, and architect at Counterspace, an all-women architecture, installation, and research firm in Johannesburg. She holds a Masters’s in Architecture from the University of the Witwatersrand. Preceding co-leading in GSA Unit 18, Sarah has also taught in GSA Unit 14’s Rogue Economies for three years. Sarah’s interests lie in spatio-economic practices, as well as elements that involve ‘otherness’ – particularly practices which embed themselves as unexpected systems, defying logics of surrounding scale, time, accessibilities, identity, or broader policy environments. www.space-kiosk.com

UNIT ASSISTANT Nothando Lunga

Nothando graduated from the Graduate School of Architecture, at the University of Johannesburg, where she received a Master’s degree with Distinction from Unit-18 Hyperreal Prototypes. Her interests lie in architecture that evokes emotion and prompts conversations with a focus on how people perceive, interacts with, and remember spaces and the connection between body, imagination, and memory in a post-apartheid South Africa. Before joining Unit 18, and preceding her master’s degree, Nothando practiced at Designworkshop:sa. She will provide administrative support to the unit

UNIT COLLABORATORS & SUPPORT STAFF

From time to time, the unit will bring in experts to share widespanning skills building in digital media where applicable to the brief, or assist with connecting particular students who may require particular skills building in this regard. Our support team is wellexperienced graduates or digital representation specialists.

MAKING & FABRICATION SUPPORT SEMINARS Trevor McGurk, Coloured Cube Max Phori

The Unit will promote one week intense workshop usage and skills exchange at the Coloured Cube maker space, and will involve pointed tutorials with GSA Graduate Max Phori on methodologies on large-scale model prototyping and execution.

EXHIBITION & PUBLICATION CURATION SEMINARS Counterspace, Darren Sampson

As part of the curriculum, support will be given towards planning, design and execution of both portfolio books and review installation curation. This typically will occur closer to Mid-Year Portfolio Review, Final Portfolio Review and Quarter 3/ 4 Review.

Harun Farocki, Nicht löschbares Feuer (Intextinguishable Fire), 1969

DIGITAL SUPPORT SEMINARS Jesse Dymond Steven Moore Reben Smit

UNIT COLLABORATORS & SUPPORT STAFF

Unit 18 has several academics and practitioners within and outside of the architectural discipline who will be brought in at key tutorials for specialised critics or workshops.

TRANSLATION INTO THE ARTS TMRW Gallery (Carly Whitaker) Zen Marie Zach Blas

A relationship between the arts in Johannesburg and the Unit’s students will be promoted, where collaborations between artists and galleries will be sought from time to time.

TRANSLATION INTO THE DIGITAL Tegan Bristow Dale Deacon Riley Grant and William Shoki Nina Barnett and Jeremy Bolen Izak Potgieter

The Unit pursues a relationship with academics and practitioners in the digital arts spheres in South Africa and will promote guest seminars and workshops where applicable.

TRANSLATION INTO TEXT Sara Salem Bongani Kona Dee Marco Thuli Gamedze

Translation of architectural and spatial concepts is pursued through text and writing as a medium, in certain instances. From scriptwriting to poetry, policy-writing, or antagonism this method is expanded on from time to time during the year, where applicable to a brief or student’s project.

Harun Farocki, Serious Games I-IV, 2008-9

GUEST TUTORAGE Pedram Dibazar Doung Anwar Jahangeer Dorothee Kreutzfeldt Kirsten Doermann Dr Huda Tayob Stephen Steyn Zen Marie Femke Herregraven Jenna Bass

Genres cross; fiction becomes re an unpredictable form of proje Earth itself gains an air

eflection; archaeology becomes ective technology; and even the r of the non-terrestrial. - Mannaugh, 2007

METHODOLOGIES

Our methodologies are suspended between tracing (origins), reproducing (modelling), and re-imagining (alteration, production of the cyborg, prototyping). These processes, which balance spatial research with production, most importantly work between the real and unreal, the natural and supernatural, or other. i) Tracing detect / match / archive / record / index / stack

Identification of influences (cultural, economic, and political) are pursued. Genealogies of rituals and form are traced through time and territories to reveal relationships to earlier and more-widelyflung communities or systems. Dislocated ghosts of things that are familiar but seemingly unrelated to the current context are traced and delineated. ii) MODEL / Reproduction

theatre / re-write / carbon copy / stamp / mirror / clone / match properties / simulate / fold /

The Unit seeks to deliberately challenge the practice of copying in space-making and thought production. The Unit translates a phenomenon from a particular time and territory to a new version of unreality. Modelling of something existing into a translated medium offers interesting slippages, new meaning, new glitches. What remains intact, and what is lost or augmented, becomes interesting. This is the precipice for invention and newness. iii) PROTOTYPE / Re-imagination

glitch / break / stretch / up-scale / down-scale / distort / erase / damage / un-link / metastize / synthesis / augment /

Housed in the framing of the prototype, a new post-replica, post-fake iteration is developed. What is the next? What is the new original? Can it be called original at all? It is a completely altered vessel, a new iteration to spur a movement of others. The work becomes obsessed with the tension between inheritance and authenticity. We move between that ‘sad and a sunken couch that sags in just the place where an unrememberable past and an unimaginable future force us to sit day after day and the conceptual abstractions because everything of significance happens there among the inert furniture and the monumental social architecture (Gordon 2008)’.

Zach Blas, Face Cage 2, endurance performance with Elle Mehrmand (2014)

42 Perry Kulper : 1997. David’s Island

METHODOLOGIES

In addition to the broader framing of methodological approaches to the Unit (provided on the sheet preceding), the Unit also strongly encourages cross-disciplinary representation forms (for example into film, large-scale model and installation-making, and digital media). This is supplemented through the 18+ SEMINAR SERIES which is further elaborated on, in the following pages. Layering, and glitching or manipulative acts used in the layering are encouraged particularly in these representational languages. _________________________________

REFERENCES ON METHODS • • • • •

LEBBEUS WOODS. 2021. LEBBEUS WOODS. [online] Available at: <https://lebbeuswoods.wordpress.com/> [Accessed 2 April 2021]. 2021. Interview with Mills & Jones,.. [online] Available at: <https:// www.architectural-review.com/essays/profiles-and-interviews/ interview-with-mill-jones> [Accessed 2 April 2021]. Chriswoebken.com. 2021. Chris Woebken. [online] Available at: <https://chriswoebken.com/> [Accessed 2 April 2021]. Extrapolationfactory.com. 2021. Extrapolation Factory. [online] Available at: <https://extrapolationfactory.com/> [Accessed 2 April 2021]. Institute of Making. 2021. Materials - Materials Library. [online] Available at: <https://www.instituteofmaking.org.uk/materialslibrary> [Accessed 2 April 2021].

ANALOGUE

RE-WRITE SILKSCREEN CARBON-COPY BLOCK-PRINTING VINYL COPY-ROUTING CASTING POTTERY TEMPLATE TRACE FILM NEGATIVE FOLD MIRROR STAMP UNREAL/ DIGITAL

CNTRL+C CNTRL+P VR 3D-SCAN EYE-DROP TOOL CLONING PHOTOCOPY SCAN CC GLITCH SYNTHESIZE SIMULATION RE-EDIT

18+ SEMINAR SERIES

18+ SEMINAR DIGITAL VISUALISATION TUTORS Jesse Dymond Dale Deacon Reuben Smit

DIGITAL VISUALISATION & ARCHITECTURE Exploration in digital media is encouraged in the Unit, owing to their adaptive and manipulative qualities in ‘beyond-real’ spaces. However, experimentation with or in it should not be viewed as a compulsory requirement by the Unit by any means, but rather suiting only students who wish to pursue it for small or large parts of their MDP. Unit 18 aims to initiate and host as part of its course a series of digital application basics courses to assist students with familiarising themselves with available digital tools and media for experimentation and translation. This is intended to be opened up to other Units who may have shared interests for a cross-unit, shared learning experience. ‘Crash courses’ which may be expanded depending on requirement and resources are proposed by the Unit for the following: • • • • • •

Adobe Illustrator Basics or Advanced (half day course) Rhinocerous 3D Modelling Basics (2 x half day courses) Lasercutting Basics @ FADA FABLAB 3D Scanning Basics 3D Printing Basics VR Translation Basics

A visit to the TMRW Gallery and participation in the annual Fak’ugesi Festival is also intended to expose students to digital translations and experimentation in other artistic disciplines. 18+ SEMINAR PERFORMANCE & ARCHITECTURE TUTORS Gugu Mthembu Phuong-Tram Nguyen Donna Kukama

PERFORMANCE & ARCHITECTURE Theatrical practices (performance and engagement) are a valued method of exploration and representation in the Unit, since performance and theatre may in relative fact, be categorised as representations of augmented or ‘virtual reality - experiences. The Unit is supported by a seminar run by Gugulethu Mthembu (former U12 student and graduate of the Graduate School of Architecture, UJ) in the first quarter, as well as a performance workshop run by artist Donna Kukama.

18+ SEMINAR SERIES

18+ SEMINAR FILM TUTORS Stephen Steyn Zaheer Cassim

FILM & ARCHITECTURE

18+ SEMINAR INSTALLATION & ARCHITECTURE TUTORS Counterspace Darren Sampson

EXHIBITION, INSTALLATION & ARCHITECTURE

Giordano & Hamman. Capsule Hotel. In the Barlett Book for 2013.

Film and documentary provide an exciting way of seeing to conversations around re-representation, replications, and hauntings from other films, contexts, or artistic pieces. The Unit is supported by a conceptual and theoretical expansion on this lead in a lecture by Stephen Steyn (former GSA Unit 10 Leader), while technical and skill support is contributed by Zaheer Cassim (film producer and director at One Way Up Productions), as pointed moments in the course.

Immersive environments that sensitise viewers into your work assist the power of extrapolating beyond-’real’ experiences of flat 2D drawings. How can moods and choreographers of viewers in space augment the meaning of the work? Counterspace and Darren Sampson support the work with seminars and desktop tutorials on exhibition installation of student work leading up to major design reviews in the year.

Zach Blas: above, Installation shot from The Doors and below Jubilee 2033, film still (2018)

Above Left: Diller-Scoffidio. Left: Tree of Codes, Paris Opera Ballet. Above: Do Ho Suh: The Passage/s

Nam June Paik, TV Garden 1974–7

SITE - SURFACE AND 6 HAUNTING CASES

COLLABORATORS Doung Anwar Jahangeer Zen Marie Dorothee Kreutzfeldt Kiki Doermann Jenna Bass Pedram Dibazar Roanne Moodley Lindsay Bush Jhonno Bennet Adeema Davis Social Impact Arts Prize (various artists and architects)

This year we will attend a ghost tour through a spectral, virtual gaze, of six haunted ‘surfacings’ on our continent. We will travel with experts through film, image, drawing, performance, and writings of case studies - skimming and intercepting the ways in which these spaces are captured and also antagonising hidden aspects that lie behind these. The first of these sites include Durban’s ‘Golden Mile’ - a landscape reveneered to copy Miami’s beachfront. In Durban, we hope to uncover the many ways in which the golden mile speaks to a resurfacing and rewriting of the histories and legacies of Durban as a landing place for migrants, both economic and indentured. Site two is in Johannesburg. Here we look at the fascinating way it remains captivated in a dream state - a city that is always looking forward at what it can be, and very little at what it is or has been as it hurtles through rapid development and transformation. We look particularly at the Modderfontein vision, contributed by Dutch architects and Chinese Capital. Taking a cue from the production of hyperreal renderings, we visit Akon City, a smart city pioneered by an American rapper in Senegal, which draws on tradition and history as it imagines a smart future. Following this, we make a virtual trip to the African Union Headquarters, based in Addis Ababa - a shiny-glass building; seat of the African powers, yet with surprising ties to slavery, and neo-colonial forces. Returning to South Africa, we visit the small transit town of Graaf Reinet in the Eastern Cape - a city that attends to a decorum but holds certain dark hauntings. These sites and the apertures developed for remnants, ghosts and transfers may later be applied by the student on a related but elsewhere site, under the guidance of the Unit Tutors. What is learned is intended to foster a new way of seeing or interpreting global processes which occur in multiple spaces, incomparable but also vastly different ways. What are other surfaces that may be engaged with? Logistics Note: Under the recommendation by the UJ Internationalisation Office, Budgetary, application, and safety logistics will be shared prior to the trip. Under advisory from the University, units are allowed to travel as long as Covid-19 protocols are observed.

M1 & M2 PERFORMANCE EXPECTATIONS

M1 and M2 students are taught together in our studio and have both shared and divergent expectations in the Unit, based on the items described below. The Unit is run as a kind of two-year programme, where M1 students are prepared for M2 ways of working and research approach maturities. We do, however also welcome students from other Units who might bring diverse interests to the Unit. M1 baseline expectations: • • •

Submits all relevant outputs as illustrated in the course’s carious briefs Has attended a majority of teaching sessions and all presentation sessions. Shows some technical competency, relevance to the Unit’s framing, some theoretical positioning, carries a research argument, shows an attempt at pursuing well-chosen representation languages, and covers ethical research procedures.

M1 performance that is deemed excellent, and will be put forward / substantiated as far as possible for award of a distinction: • • • •

Pioneers a new way of researching or representing research in the Unit and/or school on the whole. Holds some form of a theoretical or methodological argument. Is rigourously substantiated with thoughtful, careful, and sensitive research. Is rigorously substantiated with thoughtful, careful, and sensitive design works (responsive, speculative spatial propositions)

___________________ M2 baseline expectations: • • •

Holds some form of a theoretical or methodological argument. Shows substantial technical/ analytical competency through research and design. M2s also carry leadership and mentorship roles to the M1 students in their Units, by way of them having gone through similar experiences. We encourage the opportunity for ‘vertical studio’ learning where this is possible.

M1 & M2 PERFORMANCE EXPECTATIONS

M2 performance that is deemed excellent, and will be put forward / substantiated as far as possible for award of a distinction: • • • • •

Contributes exceptionally meaningfully to agendas of transformative pedagogy. Contributes to new research knowledge (based on her/his own research and drawing of finds) Holds a mature theoretical or methodological argument. Is rigourously substantiated with thoughtful, careful, and sensitive research. Is rigorously substantiated with thoughtful, careful, and sensitive design works (responsive, speculative spatial propositions)

MARKING PROCEDURES & RUBRICS

GSA Unit 18’s marking procedures work together with the standard guidelines provided by the school. The school awards a singular mark based on the outcome of final external examinations only for M2s, and Final Portfolio Review marks for M1s, around October/November at the end of the year. Three M1 students will also be external-reviewed at the end of the year, at which point their marks might be adjusted. The marks received throughout the year do not feed this mark directly, as this singular assessment at the end of the year will be awarded as the standing, the full final mark. However, the marks provided to you at reviews or on formal feedback sheets will assist with sharing where the student is currently positioned, to assist with communication as to when or where a student might need to improve. We also use at least 6 points in the year (including the Mid-Year Portfolio Review*, Final Portfolio Review ** and four Quarter Reviews to vet our marking against school or external examiner marks). The Unit provides continuous assessments throughout the year, with special focus attributed to the four major reviews held throughout the year. As part of the shared composite marks, we and examiners are to use the following key indicators for our Unit to view a baseline expectation, to help assess performance, rigour, and completeness of the work: 1.

Context: /10 Each project must demonstrate alignment with the overall broad theme(s) and aim(s) that the Unit has set out to investigate and achieve at the beginning of the year. Further, where the MDP investigation refers to geophysical location, unlike in the case of the theoretical exploration, the study must show its response to its physical context.

Clarity:/10 The Portfolio must show, what it is that the student is actually investigating so that the leaders can be certain that it can be done within the allotted time for investigation and with available resources. The MDP must also clearly show what the relevance of the project is.

Theoretical Positioning:/10 Students are expected to make reference to broad concepts and theories that locate their research in the context of previous academic discourse and paradigms within which their MDP is making its proposition.

Spatial Relevancy /10 The project needs to demonstrate relevancy to spatial subjects or ways of working.

Responsive Representation /10 The student has manifested the idea of ‘prototype’ in their research methodology and can substantiate control over selection and value of digital, physical (embodied) and analogue research techniques.

Ability to link knowledge /10 Must demonstrate how the flow and link of ideas and learning of one preceding assignment to the next. Projects in the portfolio must not be episodic. The student must draw out the learning from one assignment to the next to demonstrate active- learning that has taken place during the semester at each stage of submission.

Ethics: /10 Ethics should guide the process of investigation. Students should be able to make the distinction between citation, borrowing, and outright plagiarizing, either in writing or drawings. Besides, students’ projects should also respect people’s anonymity, when dealing with sensitive information, or information obtained in a sensitive way.

MARKING PROCEDURES & RUBRICS

Zahra Essa, Lesson 02, The Kitchen, 2020

* Mid-Year Portfolio Review is usually held in June, just before the end of Semester 1. It is a platform where using submitted portfolios from each student (showing all work from Q1 & Q2), the Unit Leaders present the student’s interests, MDP framing, and general performance to the GSA Leadership and all other Unit Leaders in the school. The marks GSA Unit 18 has given each student at that point as a ‘sum of portfolio’ will be reviewed under advisement with all other Unit’s Leaders to exit with a moderated mark, which will be shared with you to give a sense of where your work stands. **Final-Year Portfolio Review is usually held at the end of October and follows a similar process as the Mid-Year Portfolio Review. From this engagement, final marks are vetted that are given to the External Reviewers to then confirm or adjust”

Akon City Visualisations. 2020.

NON-PERFORMANCE PROCEDURES

Per the guidelines provided by the Graduate School of Architecture UJ, we follow the following procedures to note and address concerns of non-performance by any student in the Unit. This is to ensure the student and school are adequately communicated with should any student’s work be at considerable risk of not meeting minimum requirements. The requirements comprise of quality, depth, and rigour of work; as well as attendance of tutorials and reviews. Our general requirements are as follows: •

In the event that a student is unable to attend a particular session, please send through notification of this on email to Unit Leaders and Assistants communication. This should be made at least 24 hours in advance, unless in emergency circumstances.

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Students to please attend on time, and try to test sharing, microphone and camera settings ahead of your call if you are able if you are connecting online. Try to also find stable Wi-Fi for the duration of your presentations if you are able.

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Students are free to ‘swap’ with other students should you be unable to make any allocated time – please organise this amongst yourselves as you may need, well ahead of time, and also make sure the tutorial list is updated.

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We request a standard minimum in-person engagements (this will be communicated to you quarterly, dependant on national pandemic restrictions). This is in the interest of more intensive engagements, and more flexible review, especially of made artefacts.

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Any presentation/pin-up absences must be accompanied by a doctor’s note within 7 days. Unexpected unstable WiFi or load-shedding will unfortunately not hold as excusable reasons for non-attendance - students to make sure they carry a ‘Plan B’ for these, and try to prepare as much as possible in the case of the worst event.

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Students to not miss more than 3 sessions without a doctor’s note.

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Students who are positioned around the 55% mark for continuous assements or below will be deemed non-performing and ‘at risk’.

When a student may not be meeting basic performance requirements, the Unit will follow the following procedures: 1.

A student who has missed three sessions (which are not explicitly described as optional) will be issued with a formal warning letter, which will be close copied on email to the GSA Operations Team for their records. In addition, poor performance will be recorded in the two formal feedback communication notes issued by the Unit tutors to the student across the year.

Towards the end of the first semester, the Unit Leaders are asked to note to the GSA Director which students are not performing or are at risk. A first formal warning interview will be scheduled with the GSA Director.

Prior to the final review of Q3, if there are any students whom to the Unit Leader’s assessment may be at risk of not passing the external examination, the Unit Leaders are again to inform the GSA Director. A second formal warning interview will be scheduled with the GSA Director, which will also be minuted by GSA Operations Team. Minutes to be kept on students’ files.

Suncoast Casino at night

DESIGN REALISATION EXPECTATIONS

As part of the Unit’s expectations of deliverable outputs (see pages following), is included the production of a section of work that demonstrates reasonable technical and ‘real-world’ design testing, prototyping, and resolution. This can be held in a fairly wide variety of formats, which will be proposed to your tutor for guidance. The purpose of this section in your work is to evidence competency for architectural technical and/or analytical skill, for the fulfillment of your professional degree requirements. While ‘technical drawings’ of some sort might fulfill this requirement at its most simplistic level, the Unit strongly recommends laterally considering this aspect of work as an item that creatively holds real-world value for the articulation of either or both your research interests or ways of working. This section of work is entered into normally around the 3rd Quarter, where the Major Design Project is developed considerably enough to pair with this. There is a dedicated segment of coursework in the third quarter to specifically develop this output, for eventual inclusion in the final portfolio. The following are recommended examples only as an initiation point to widen thinking on this - the student is to choose a subject matter for this section, and choose a relevant and related representation method, which adds value to their already progressing Major Design Project (i.e. it is not an arbitrary or flattening diversion to the core thinking but reinforces it). What the section executes, and how this is executed will be negotiated and validated against your broader research interests. Please see below: • • • •

A fully detailed door schedule of all securities access doors along a public street edge A series of measured drawings which show speeds, activities, and eye movements of pedestrians along with a varying set of facade edges A series of rigorously analyses tests of bacterial growth on a façade which promotes ecological reaction to climatic indicators A website CSS code export, for the development of a new interactive archive of historically erased buildings or spatial remnants A fully detailed 1:20 typical section of a new interactive facade for commercial office buildings in Sandton CBD

Above. Still from Jenna Bass’s “Flatland” 2020. Below. James Bridle’s “Render Ghosts”

FINAL OUTPUT EXPECTATIONS

The Unit requires key outputs for the fulfillment of its own research framework and fulfillment requirements for a professional course. Please take note of the below. On occasions, the student and tutors may negotiate an altered collection of outputs, considering a different, but equally rigorous set as per below: • • • • • •

Project abstract (this should be updated just before submission of the draft final portfolio at the end of the year, to incorporate any developments) 15 - 30 rigorously developed complex drawings 1 research essay of 1500 - 3000 words taking on one aspect of research interests (The production of this will be guided through a dedicated series of workshops in Quarter 3) Min x 1 large scale model (or filmed installation/ performance with a purpose-made model/ tactile artefact) that can be enacted one on one Design Realisation section (see pages preceding) List of figures and bibliography

Additional optional outputs: • •

A website-based portfolio on Wix (these are particularly wellsuited to students who have a considerable amount of filmic or web-interactive media) A collated performance of major works in filmic format (See GSA Unit 18 alumni Zahraa Essa’s final film from 2020)

“in the experience of the contemp visual converge on - Pedram Dibazar a Visualising

porary street, the spatial and the n multiple levels” and Judith Naeff, the Street

REFERENCE LIST

LINK ON SHAREPOINT DRIVE TO RESOURCES https://ujac.sharepoint.com/:f:/r/ sites/GSAUnitStaff/Shared%20Documents/GSA%20Archive%202021/ Unit%2018/02%20Resources?csf=1&web=1&e=0YvsYy

10 KEY REFERENCES: • •

• • • • • • • •

Appadurai, A.1986. Introduction: commodities and the politics of value. Cambridge: University Press p3 Baudrillard, J. 1994. Simulacra and Simulation (The Body, In Theory: Histories of Cultural Materialism). University of Michigan Press. Benjamin, W. 1999. The Arcades Project. Eiland, H & McLaughlin, K (trans). Cambridge: Belknap Press of Harvard University Press. Calvino, I. 1997. Invisibles Cities. London: Vintage Books. Comaroff, J. Horror in Architecture: Josh Comaroff and Ong-Ker Shing: Gordon, A. 2008, Ghostly Matters: Haunting and the Sociological Imagination. Minneapolis: Univ Of Minnesota Pres. Koolhaas, AMO, Harvard Graduate School of Design. 2014. Elements. Rotterdam: Marsilio. Mbembe, A. Superfluity Sontag, S. 2001. On Photography. London: Picador Sorkin, M (ed). 1992. Variations on a theme park. The new American city and the end of public space. New York: Noonday.

OTHER USEFUL REFERENCES: TEXT • • • • • • • •

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• • • 62

Alexander, C, Ishakawa, S, Silverstein, M, Jacobson, M, FiksdahlKing, I, and Angel, S. 1977. A Pattern Language: Towns, Buildings, Construction. 2nd ed. Berkeley: Oxford University Press. Amado, J. 1993. The War of the Saints. New York: Bantam Books. bell hooks – “The Oppositional Gaze: Black Female Spectators” (on Wim Wenders film) Beukes, L. 2016. Zoo City. Johannesburg: Mulholland Books. Berger, J. 2008. Ways of Seeing (1st ed.). London New York: British Broadcasting Corporation and Penguin Books. Bremner, L. Writing the City into Being Borch, C. 2011. Foamy Business: On the Organizational Politics of Atmospheres. Amsterdam: University Press BV Colomina, B & Wigley, M. 2017. Are we Human? Notes on an Archaeology of Design. Published by Lars Müller Publishers (Zurich) in collaboration with Istanbul Foundation for Culture and Arts ( KSV) Jean Comaroff and John L. Comaroff. Occult Economies and the Violence of Abstraction: Notes from the South African Postcolony. American Ethnologist. Vol. 26, No. 2 (May, 1999), pp. 279-303 Deleuze, G. 1995. Difference and Repetition. Columbia University Press; Revised ed. edition Michiel Dehaene and Lieven de Cauter: Heterotopia and The City: introduction pages 3-9 and “Dubai offshore Urbanism” 287-294 Dibazar, P. Naeff, J. 2018. “Introduction” in Visualising The Street. Amsterdam University Press.

REFERENCE LIST

• • • • • • •

• •

• • • • • • • •

Mary Douglas - Purity and Danger Henry Urbach - Closet Aaorn Betsky - Queer Space Freud - text on Umheimlich Hanley, R. Simulacra and Simulation: Baudrillard and The Matrix. Horning, R. 2016. Mass Authentic. Viewed online at https:// thenewinquiry.com/blog/mass-authentic/. Kockelkorn, A. & Zschocke, N. (Eds). 2019. Productive Universals Specific Situations: Critical Engagements in Art, Architecture, and Urbanism (Sternberg Press) Kholeif , O. 2018. Goodbye, World!: Looking at Art in the Digital Age (Sternberg Press) Presner, T., Shepard,D. & Kawano, Y. 2014. HyperCities: Thick Mapping in the Digital Humanities (metaLABprojects). Harvard University Press. Mollon, P. 1996. Freud and False Memory (Post Modern Encounters). Totem Books: USA . Patel, S. 2010. Migritude. New York: Kaya Press. Shulz, B. 2008. The Street of Crocodiles and Other Stories. London: Penguin Classics. Tarde, G. 1962. The Laws of Imitation. Trans EC Parsons, Gloucester, MA. Tafuri, M. 1976. Architecture and Utopia: Design and Capitalist Development .Massachusetts : MIT Press. Turner, V. 1969. The Ritual Process: Structure and Anti-Structure. New York: Aldine de Gruyter. Venturi, Denise Scott Brown - LEarning from LAs Vegas Yusoff, K. 2018. A Billion Black Anthropocenes or None (Forerunners: Ideas First). Univ Of Minnesota Pres.

FILM • • • • • • • • • • • • •

Baloji (dir). 2019. Zombies [Film]. Baloji (dir). 2019. Future is Ours [Film]. Guzmán, P (dir). 2011. Nostalgia for the light. [Film]. Icarus Films. Hafeda, M. (dir) & Alwan, A. (prod). 2018. On Sewing Borders. [Film]. See other similar related films at: https://iffr.com/en/2018/ films/sewing-borders Hitchcok, A. (dir) 1951. Strangers on a Train. [Film]. Transatlantic Pictures. Wachowski, L & Wachowski, L (dir) & Silver, J (prod). 1999. The Matrix. [Film]. Warner Bros. Pictures. Berni Searle – Home and Away (Film/ 2003) and other works Ousmane Sembene – La Noire (Film/ 1960) Ana Lily Amirpour – A Girl Walks Home Alone at Night (Film/ 2014) Shoplifting (film) • Beavon, K.S.O. (2004). Johannesburg: The Making And Shaping Of The City. Unisa Press: Pretoria. • Callinicos, L. (2012). Who Built Jozi: Discovering Memory At Wits Junction. Wits University Press: Johannesburg. • Chipkin, C.M. (1993). Johannesburg Style: Architecture And 63

REFERENCE LIST

LINK ON SHAREPOINT DRIVE TO RESOURCES https://ujac.sharepoint.com/:f:/r/ sites/GSAUnitStaff/Shared%20Documents/GSA%20Archive%202021/ Unit%2018/02%20Resources?csf=1&web=1&e=0YvsYy

JOHANNESBURG • Society 1880’s-1960’s. David Phillip: Cape Town. • Chipkin, C.M. (2008). Johannesburg Transition: Architecture And Society From 1950. Ste Publishers: Johannesburg. • Christopher, A.J. (1994). The Atlas Of Apartheid. Wits University Press: Johannesburg. • Fisher, R. And Le Roux, S. Eds. (1998). The Architecture Of The Transvaal. Unisa Press: Pretoria. • Grieg, D. E. (1971). A Guide To Architecture In South Africa. Howard Timmins: Cape Town. • Herbert, G. (1975). Rex Martienssen And The International Style. Aa Balkema: Cape Town. • Herholdt, A. (Ed) (2014). Architectural Conservation In South Africa Since 1994: 100+ Projects. Dot Matrix Publishers: Port Elizabeth. • Itzkin, E. (2000). Gandhi’s Johannesburg: Birthplace Of Satyagraha. Wits University Press: Johannesburg. • Japha, D. (1986). The Social Programme Of The South African Modern Movement In Architecture. Africa Seminar. Centre For African Studies, University Of Cape Town. • Judin, H., I. Vladislavic, Et Al. (1998). Blank_: Architecture, Apartheid And After. Nai: Rotterdam. • Kallaway, P. And Pearson, P. (1986). Johannesburg: Images And Continuities: A History Of Working Class Life Through Pictures 1885 – 1935. Ravan Press: Johannesburg. • Murray, M. (2011). City Of Extremes: The Spatial Politics Of Johannesburg. Wits University Press: Johannesburg • Nuttal, S. And Mbembe, A. (2008). Johannesburg: The Elusive Metropolis. Wits University Press: Johannesburg. • Smith, A.H. (1971). Johannesburg Street Names. Jutta & Co Ltd: Johannesburg. • Van Onselen, C. (1985). Studies In The Social And Economic History Of The Witwatersrand, 1886-1914: V1 New Babylon, V2 New Nineveh. Cambridge University Press: Cambridge. • Van Der Waal, G.M. (1987). From Mining Camp To Metropolis: The Buildings Of Johannesburg 1886-1940. Human Sciences Research Council: Johannesburg. • Urbanjoburg.com • Heritageportal.co.za

REFERENCE LIST

Above. Map of Las Vegas Strip, Learning from Las Vegas, Robert Venturi, Denise Scott Brown, and Steven Izenour Below. Lebohang Kganye, Ke Lefa Laka, 2013

GENERAL RESOURCES / BLOGS

LINK ON SHAREPOINT DRIVE TO RESOURCES https://ujac-my.sharepoint.com/:f:/r/ personal/steffenf_uj_ac_za/Documents/GSA%20Archive%202020/ Unit%2018%20Institute%20of%20 Hyperreal%20Prototypes/02%20Reading%20Material?csf=1&e=qm37Pq

ARCHITECTURAL SITES: • • • • • • • • • • •

Bartlett Kiosk @bartlettkiosk BLDG Blog http://www.bldgblog.com/ Campus in camps http://www.campusincamps.ps/ Mass Context https://www.mascontext.com/issues/ KoozArch https://www.koozarch.com/ BLANK Space https://blankspaceproject.com/ SuperColossal http://supercolossal.ch/ ArchTalks http://archtalks.com/ RIBA President Medals http://www.presidentsmedals.com/ ArchiPRIX https://www.archiprix.org/2019/ American University of Cairo- Architecture Department https://sse.aucegypt.edu/departments/architecture

TECHNOLOGY & MAKING SITES: • • • • • • •

Digital Earth https://www.digitalearth.art/ MIT Media Lab https://www.media.mit.edu/ Interactive Architecture Lab http://www.interactivearchitecture.org/ Make Magazine https://make.co/ TMRW Gallery https://tmrw.art/ Fak’ugesi http://fakugesi.co.za/ Cairotronica http://www.cairotronica.com/

ECOLOGICAL / BIOLOGICAL : • • •

http://www.exploration-architecture.com/studio/philosophy Neri Oxman works https://neri.media.mit.edu/index.html Lukáš Likavan & Digital Earth https://medium.com/digital-earth/ searching-the-planetary-in-every-grain-of-sand-introduction-todigital-earth-fellowship-2020-2021-8692e5ff3a05

GENERAL RESOURCES / BLOGS

INSTALLATIONS/ PROJECTS OF INTEREST/ ARTISTS: • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Ed Ruscha’s 12 Sunsets - https://12sunsets.getty.edu/ map/1985?d=0.42256 Diller Scoffidio Slow House - https://dsrny.com/project/slow-house Anastasia Samoylova - https://www.anasamoylova.com/projects Gordon Matta Clark - Conical Intersect (1975), Bronx Floors (1973) Gerhard Marx - https://gerhardmarx.co.za/Ecstatic-Cartography Lebbeus Woods - https://www.archdaily.com/525005/exhibitionlebbeus-woods-on-line El Anatsui: Tsiatsia - In Searching for a Connection, Mans Cloth. Homeland Under My Nails: https://mosaicrooms.org/event/ homelandundermynails/ Athi Patra Ruga: https://www.theguardian.com/world/2013/dec/19/ athi-patra-ruga-tapestry-south-africa http://www.made-you-look.net/ Occupation of loss - http://tarynsimon.com/works/occupation_of_ loss/#1 Kon Wajiro - Japanese Ethnography (Everyday objects) Umber Majeed http://www.umbermajeed.com/digital-project-inthe-name-of-hypersurface-of-the-present Rebecca Sneider - performing pasts - enacting pasts. Keeping alive as a passing on.Future for a instruction - not be ‘correct noting of past’ Francis Alys - esp. https://francisalys.com/when-faith-movesmountains/ (and ghostliness of person / event) http://www.koozarch.com/interviews/this-is-not-a-22-caratstyrofoam-casino/ Simulacrum - http://www.koozarch.com/interviews/simulacrum/ Fast versus slow architecture http://www.koozarch.com/ interviews/agonistic-frontiers/ Lawrence Abu Hamden Harun Farocki Cities under Surveillance Trees, Vines, Palms and Other Architectural Monuments - Paulo Tavares (Brazil) Empire Remains / Cooking Sections https://vimeo.com/277444156 Machines of Loving Grace by Grace Schofield https:// rcaarchitecture.wpcomstaging.com/2020/07/07/machines-ofloving-grace-2/ Loren Adams - Socio-Spatial Exploits: A Critical Anthology of Heists, Hacks, Hijacks, and Copycats https://www.lorenadams.me/ http://socks-studio.com/2013/12/09/the-world-explained-by-kappasenoo/ Matilde Cassani - Anti Icon - http://www.matildecassani.com/ Ibrahim Mahama https://www.norvalfoundation.org/ibrahim-mahama/ Indigestion - Diller Scoffidio https://dsrny.com/project/ indigestion?sort=year&index=false Measure for Measure: Human Scales of Digital Infrastructureshttps://medium.com/digital-earth/measure-formeasure-human-scales-of-digital-infrastructures-9330408afc23

GENERAL RESOURCES / BLOGS

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A tour of suspended handshakes https://medium.com/digitalearth/a-tour-of-suspended-handshakes-2b1b699c9cf2 Raafat Majzoub https://www.antiatlas-journal.net/02-writing-asarchitecture-performing-reality-until-reality-complies/ Diane Viktor https://www.goodman-gallery.com/store/shop?ref_ id=12841 Paris Opera Ballet adaption of Safran Foer, J. 2010. Tree of Codes. Visual Edition. See https://www.theguardian.com/culture/2017/ oct/19/tree-of-codes-review-wayne-mcgregors-modern-balletfails-to-find-heart Hussein Chalayan — Gravity Fatigue at Sadler Wells, London. Visit: https://www.sadlerswells.com/whats-on/2015/husseinchalayan-gravity-fatigue/ Do Ho Suh. 2015. Bridging Home. London. Do Ho Suh. The Passage/s. London. DAAR, Refugee Heritage (2015-2021).2019. at Chicago Architecture Biennial. View at: http://www.decolonizing.ps/site/ An evening with Leri Price and Khaled Khalifa. Viewed at: https:// mosaicrooms.org/event/an-evening-with-leri-price-and-khaledkhalifa/ Evidence, Activism, And The Law In The Age Of Post-Truth. 2017. Viewed at https://forensic-architecture.org/programme/events/ lecture-and-exhibition-opening-evidence-activism-and-the-law-inthe-age-of-post-truth Social Glitch. 2015. Viewed at: http://www.theoriesinmind.net/ socialglitch/english/ Le Terriotoire des Sens http://territoiredessens.blogspot.com/ Are We Human? 3rd Instanbul Design Biennial http://arewehuman.iksv.org/

PODCASTS • • •

African Mobilities https://soundcloud.com/africanmobilities Archive of Forgetfulness https://www.goethe.de/ins/za/en/kul/sup/aof.html GSA History and Thoery youtube series from 2020

Christo and Jean-Claude, The London Mastaba, Serpentine Lake, Hyde Park, 2016–18

Kamal Ranchod, 2020

6 KEY PROJECTS FROM THE UNIT 18 CLASS OF 2020 KAMAL RANCHOD (M2) UNIT SUPERVISORS Sarah de Villiers, Dr Huda Tayob, Naadira Patel. Unit Assistant: Adam Osman. AWARDS Distinction, Corobrik 1st Prize, Examiner’s Choice Award. WEBSITE https://thekamalio.wixsite.com/ u182020

Hyperreal Perspicuities: Multi-Narrative Reconstructions of Modern Egypt This project investigates drawing as representation, developing prototypes in the form of drawings, instruments, and immersive videos. These prototypes develop modes of representation that subvert linear viewpoints and illustrate the multiplicity of narratives embedded within space. The project draws on tactics from two sources. First, the idea of a rhizome in the writings of Deleuze and Guattari. A rhizome is a subterranean root formation found in plants such as ginger. Rhizomes operate below the surface growing horizontally into decentralised structures. Rhizomes work with ideas of heterogeneity, connection, multiplicities, and cartography to subvert linear narratives, privileged viewpoints, and challenge centralised power structures. The second source, Performative Cartography by Nanna Verhoeff challenges the cartesian way of seeing that separates the observer from the observed. Using navigation as performance observers are transformed into participants within space. By focusing on Modern Egypt between 1827 and 1952 the project uses drawing to construct hidden hauntings of colonialism and modernisation across three main historical events. These events are the Battle of Navarino, The Bombardment of Alexandria, and the 1952 Cairo Fire. The project manifests in the form of an event called “The Parade of Phantoms” that occurs in Talaat Harb Square situated in Downtown Cairo.

72 Karabo Moumakwe, 2020

6 KEY PROJECTS FROM THE UNIT 18 CLASS OF 2020 KARABO MOUMAKWE (M2) UNIT SUPERVISORS Sarah de Villiers, Dr Huda Tayob, Naadira Patel. Unit Assistant: Adam Osman. AWARDS Distinction, Corobrik 2nd Prize, Examiner’s Choice Award, RIBA’s President’s Medals Nominations WEBSITE https://aminaandhuda.wixsite.com/ theunhomelyprototype

The Unhomely Prototype: the ‘Seraglio’ and the Unsettling of Amina (Palace Walk) The Unhomely Prototype is a film and script of three acts, in which Amina, the protagonist of Naguib Mahfouz’s Palace Walk who experiences extreme purdah at the hands of her tyrannical husband and consequently ‘does not know much of the outside world, is confronted by uncanny visions of a biographical figure, Huda Sha’arawi (1879-1924) from her memoirs The Harem Years. Sha’arawi was an outspoken feminist who existed in Amina’s time but not of her world, who advocated for the liberation of the woman from the harem system and patriarchal gaze and rule depicted in both the memoirs and Palace Walk. The film introduces these ‘visions’ by employing uncanny film and literature tactics (The Double, Imaginary and Recurring Manifestations, etc.) informed by the theoretical framework of Sigmund Freud’s Uncanny (1990) and Anthony Vidler’s The Architectural Uncanny (1992) in the home place; and to unsettle Amina with visions and scenes that represent crucial moments in Huda Shaarawi’s documented life. The Unhomely Prototype proposes multiplicity and doubling of experienced time and geographies to not only unsettle the protagonist but, also to comment on female embodiment and navigation of patriarchal space and residual architectures that, through vanished time, haunt and affect our experiences today.

6 KEY PROJECTS FROM THE UNIT 18 CLASS OF 2020 NOTHANDO LUNGA (M2) UNIT SUPERVISORS Sarah de Villiers, Dr Huda Tayob, Naadira Patel. Unit Assistant: Adam Osman. AWARDS Distinction, Women in Architecture Prize, Dean’s Prize, Unit Choice Award WEBSITE https://lunganolwazi.wixsite.com/ mnemonicdevices https://lunganolwazi.wixsite.com/ sonic-memory-cloud

Mnemonic devices: exposing the margin within institutional spaces of power in post-apartheid South Africa “There’s a need to create spaces where one can redeem and reclaim the past, legacies of pain, suffering, and triumph in ways that transform present reality” - hooks (1989:17). This project explores the architecture of “protest sustained by memory” (hooks, 1989) in pursuit of politically motivated speculation of contemporary and future definitions of equality – through exposing the ghosts and hauntings of past repressive systems in the present, advancing theories of memory to account for contemporary forms of activism through design. bell hooks writes in her essay ‘Choosing the margin as a radical space of openness’ that“the margin is not only seen as a site of deprivation but rather a site of radical possibility and resistance” (hooks 1989: 20). The project operates in the margin as a space that necessitates resistance against oppression, to transform, and speculate alternative futures and new discourses. By creating a resistance sustained by “remembering that serves to illuminate and transform the present” (hooks 1989:4). The project explores memory as an essential apparatus of transformation, questioning how a series of mnemonic devices may act as grounds for speculative futures for equality in institutional spaces of power? By challenging the different aspects of the Bill of Rights and is situated at Constitution Hill. Reframing the question surrounding equality and what it means to be equal in a postapartheid context, further identifying those marginalised in the process of democratising equality. The overall project proposes a form of resistance to being erased or simulated by exposing the margins set in place by dominant power structures.

76 Leo Da Silva Chicwambi, 2020

6 KEY PROJECTS FROM THE UNIT 18 CLASS OF 2020 LEO DA SILVA CHICWAMBI (M2) UNIT SUPERVISORS Sarah de Villiers, Dr Huda Tayob, Naadira Patel. Unit Assistant: Adam Osman. AWARDS Distinction, Corobrik Best Use of Clay Brick Prize WEBSITE https://lebronleo1.wixsite.com/surveillance1

Surveillance Prototypes: Rethinking transitory spaces to reveal truthtelling information through surveillance gazes. Alexandria, Cairo – Egypt The research focuses on manipulations and censorship of ‘truths’ around events in spaces that are caused by individuals or governments for their own interests. Particular focus is on HOW the ‘truths’ of these spaces, events, and activities may be augmented or shunted by surveillance gazes, in turn reproducing untruthful representations of spaces. What are the methodologies that can be developed to unpack, map and expose the hidden phenomenon of these ‘truths’? How does surveillance of such spaces attribute to hyperreal versions of themselves? The project finds newly uncovered ways of truth seeing and truth building. This affords us the ability to understand contexts truthfully and enables us to act acting accordingly to those contexts. Surveillance Prototypes is a new type of digital public space for ‘holding truths’ as an active participatory archive for Tahrir Square, Egypt. Information collected acts as a spectacle (making the invincible visible) in a climate of erasure and censoring. It is digital as a website and ‘real’ by drawing on multiple collected narratives of physical public space.

78 Izak Potgieter, 2020

6 KEY PROJECTS FROM THE UNIT 18 CLASS OF 2020 IZAK POTGIETER (M2) UNIT SUPERVISORS Sarah de Villiers, Dr Huda Tayob, Naadira Patel. Unit Assistant: Adam Osman.

A Directory of Hyperobjects

AWARDS Distinction, Examiner’s Choice Award

This project uses the tools and tactics of interactive media to alter the Grand Egyptian Museum into a video game, a directory of architectural devices capable of operating and monitoring the formless hyperobjects that have shaped the Giza plateau over millennia. Playing the game enables one to directly manipulate, control and even sabotage these architectural devices. Every action or inaction prints a trace onto a digitised Giza plateau.

WEBSITE https://izakfpotgieter.wixsite.com/ dofhyperobjects

*Hyperobjects: Objects massively distributed in time and space, such as global warming, human destruction, or legislation.

The video game devices form an interactive landscape that a user could enter and manipulate, switching devices on and off, timing outcomes, and reacting to triggers and events inside the game. As a user moves through and interacts with the game’s devices they constantly trigger coded events. Cumulatively these events work to alter the digitised plateau and the game landscape. To reckon with the enormous hyperobjects shaping our planet we need to visualise and alter hyperobjects. This project takes on this challenge, producing a directory of hyperobjects to give form to the formless forces that have shaped the Giza plateau over millennia.

80 Thelma Ndebele, 2020

6 KEY PROJECTS FROM THE UNIT 18 CLASS OF 2020 THELMA NDEBELE (M2) UNIT SUPERVISORS Sarah de Villiers, Dr Huda Tayob, Naadira Patel. Unit Assistant: Adam Osman. AWARDS Transformative Pedagogy Prize WEBSITE https://219055409.wixsite.com/ndebelet

Nocturnal Heterotopias: Prototyping the Event Place for Otherness This research project aims to create spaces for those deemed Other (queer individuals whose sexuality and/or gender performance transgress(es) existing heteronormative ideas of personal identity, still prevalent in present-day, urban settings), and their associated music subcultures. The insistent creation of these spaces is a reaction to the lack of non-mainstream/underground performance venues in nocturnal, post-apartheid Johannesburg (underground referring to independent or community-based electronic music scenes). These proposed spaces are prototypical installations: temporary set designs situated in Johannesburg CBD crafted using a combination of light, music, film, and various materials to both house and record instances of interpersonal interaction and embodied experience. Events and conditions surrounding the growing Ballroom subculture involving LGBTQ+ youth in South Africa are used as prompts for contextualising and basing the multi-sensorial sets proposed. This is done by drawing out Ballroom event prototypes while also designing the experience around two types of people who make up this electronic music subculture. These are then digitally inserted into the speculated venue, the Old Park City Concourse (b. 1926), insurgent and hidden among the everyday Johannesburg, thus reimagining this pre-existing architectural shell. The interactions that happen in/around the installations are digitally documented, using film and writing, to relay overlooked social and spatial narratives uncovered and created.

2021 COURSE PLANNER

BRIEF 1

Supersurfaces: Hommage 1Week Friday 19 February – Thursday 25 February

BRIEF 2

Supersurfaces: Supervisions 1Week Thursday 4 March – Thursday 11 March.

BRIEF 3

Supersurfaces: Strange Fruit 1Week Monday 15 March – Monday 22 March

QUARTER 1 REVIEW

MONDAY 29 MARCH & TUESDAY 30 MARCH

BRIEF 4

Supersurfaces: Urban & Object Scale (4.1) 4Weeks Thursday 1 April – Thursday 29th April

BRIEF 5

Supersurfaces: Prototyping Charette 1.5 Week Friday 30 April

FIELD TRIP

Durban Tour Thursday 13 May – Monday 17 May

BRIEF 6:

Supersurfaces: Facades 3.5 weeks Thursday 13 May – Monday 31 May

QUARTER 2 REVIEW

MONDAY 7 JUNE AND TUESDAY 8 JUNE

MID YEAR PORTFOLIO REVIEW EXAM:

(Internal Submission) Thursday 17 June MYPR Monday 21 – Thursday 24 June

BRIEF 7 (mini):

Writing a Chapter Monday 5 July – Wednesday 4 August

Brief 8

Facades: Embodied Architectures Duration: 4 weeks Thursday 15 July – Thursday 12 August

Brief 9 (mini):

Dialogues with Dust output 1 Week Monday 19th July – Monday 26 July

BRIEF 10:

DESIGN REALISATION 2.5 Week Friday 13 August – Wednesday 1 September

QUARTER 3 REVIEW

WEDNESDAY 14 & THURSDAY 15 SEPTEMBER

QUARTER 4 REVIEW

TUESDAY 19 & WEDNESDAY 20 OCTOBER

FINAL PORTFOLIO REVIEW:

TUESDAY 16 & WEDNESDAY 17 NOVEMBER

M1 EXTERNAL EXAMINATIONS:

TBC

M2 EXTERNAL EXAMINATIONS

TBC

Live Calendar (regularly updated) available here: https://docs.google.com/spreadsheets/d/1LWkrC1PjTF0fWV8CefgHgyBW2_f0Wan4iMhoi7yzuA/edit#gid=0

“...the postapartheid metropolis particular, is being rewritten in w ations of the unconscious [...] Thi the metropolitan form: its desig

- Achille Mbe

in general, and Johannesburg in ways that are not unlike the operis psychic life is inseparable from gn, its architectural topographies, its public graphics and surfaces. embe, Aesthetics of Superfluidity

2021 Unit 18 Masters in Architecture Course Graduate School of Architecture University of Johannesburg