GSA U18 2020 Primer

hyperreal prototypes primer 2020 Unit 18 Masters in Architecture Course Graduate School of Architecture University of Johannesburg

hyperreal root haunting parallel cyborg transfer ghost replica image authentic prototype planetary

HYPERREAL PROTOTYPES

2020 Unit 18 Hyperreal Prototypes Unit Leaders: Sarah de Villiers & Dr. Huda Tayob Unit Assistant: Adam Osman Graduate School of Architecture Faculty of Art, Design and Architecture University of Johannesburg @gsa_unit18

CONTENTS

PG 12

FRAMING STATEMENT

PG 14

10 MICRO-ESSAYS ON HYPERREAL PROTOTYPES

PG 19

UNIT STAFF

PG 20

UNIT SUPPORT STAFF - INTERNAL TEAM

PG 21

UNIT SUPPORT STAFF - EXTERNAL CROSS-DISCIPLINARY

PG 24

METHODOLOGIES

PG 28

18+ SEMINAR SERIES

PG 33

SITE - HAUNTINGS OF EGYPT

PG 34

MASTERCLASS & EXCURSIONS

PG 37

REVIEWS & EXHIBITIONS

PG 40

REFERENCE LIST

PG 42

EGYPT RESOURCES

PG 44

GENERAL RESOURCES / BLOGS

PG 46

COURSE PLANNER

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A B S O L U TE / AF ROSURREALISM / AFTERLIFE / ALI EN / A N C E STRA L / A NT E C E D ENT S / A NT I CO LO N Y / A P PA RITION / ARCHAEOLOGY / ARTIFICIAL / AUTH E NTI C / AVATA R / BELO N G I N G / B O N A F I D E / B O R DER / CERTAIN / CHANGE / COLONY / COM M O N / C O N V I N C I N G / C O PY / C O U NTERF EI T / C U T / C YBORG / DARK CONSERVATION / DESCEN DA NT / D E E P PAST / D EL I N EATE / D EPEN D EN C Y / D E R I VATIVE / DETACH / DISSENT / DISPLACE / D O U BL E / DJ I N N / ECH O / E M B A L M / E M P I RE / EX P E R I M ENT / EXTEN SION / EXTRAREAL / EXTR AT E R R E STRI A L / FACSI M I L E / FA KE / FA M I L I A L / FAT I G UE / FIGHT / FOLD / FORERUNNERS / FUTU R E / G EN U I N E / G H O ST / H AU NT / H I D D E N / H Y B R I D / HYPERREAL / IMAGE / KEPT / LIMB / LI N E AG E / M AG I C A L / M A KE / M AS S - AU T H ENT I C / M E TASTASIS / MICROCOSM / MIRROR / MODEL / M U TATI O N / M YTH O LO G I CA L / N AT U RA L / OC C U LT / OFFSHOOT / OLD / ORIGINAL / PLACE - H O L D ER / PA RA L L E L / PA R A N O RM A L / PA R E NT / PAT T E RN / PHANTOM / PHARAOH / PIONEERS / P L AC E H O L D ER / P L A N E TA RY / PO S S E S S I O N / P O ST- FA K E / PRESERVE / PROSTHETIC / PROTOTYP E / R E A L / R E I TERATE / R E L AT I O N SH I P / REM A K E / R E P L ICA / RETELL/ REVENANT / RITUAL / ROB OT / R O OT / SATEL L I T E / SH A D OW / S P E C T R E / ST I T C H / STOLEN / SUPERHUMAN / SUPERNATU R A L / S U RREA L I SM / T H RESH O L D / T R AC E / TRANSCENDENTAL / TRANSFER / TWIN / U N C E RTA I N / U N EA RT H LY / U N M A K E

Drawing by “Antony Gormley. 2019.

FRAMING STATEMENT

UNIT TUTORS Sarah De Villiers & Huda Tayob COLLABORATORS

“Power can be invisible, it can be fantastic, it can be dull and routine.

It can be obvious, it can reach you by the baton of the police, it can speak the language of your thoughts and desires. It can feel like remote control, it can exhilarate like liberation, it can travel through time, and it can drown you in the present. It is dense and superficial, it can cause bodily injury, and it can harm you without seeming ever to touch you… It causes dreams to live and dreams to die (Avery Gordon 2008, 3)” Unit 18 takes on the haunting presence of power through the Institute of Hyperreal Prototypes. In the age of the 4th Industrial Revolution, things are moving faster than ever. Political dissent, wars and economic crashes rise and fall with the same planetary crunching of time and space, across media and image, as fast as a new hairstyle emerges from Beyonce. This post-modern, late-capitalist, postcolonial, and neo-colonial world represses and projects its ghosts and phantoms with similar intensities, if not entirely in the same forms as the older worlds did. We live with the horrors and nightmares of past-violences, struggles for liberation, dreams of freedom and hopes of future worlds yet to come. The hyperreal and supernatural is indistinguishable from the real and authentic. Artificial Intelligence has infiltrated every semblance of our life: we are all cyborgs, all parthuman, all reliant on robotic and prosthetic parts.

In its first year Unit 18 will travel to Egypt as the fulcrum of a globalized ancient world for centuries. Egypt continues to haunt architectural production in the replicas of pyramids, sphinxes and obelisks -- transported and rebuilt worldwide. Looking at both very old, and rapidly emerging phenomena, we will explore the spaces of the Arab Spring, Valley of the Gods, histories of paper and writing, the Rosetta Stone, Suez Canal, Silk Road and New Silk Road, Cairo and New Cairo, Library of Alexandria, Geniza documents and Fustat.

Our research will focus on the haunting presence of the supernatural in its otherworldly, digital, analogue and ghostly forms. The unit is interested in an architecture that responds to the deep-pasts of haunted histories and, importantly a cognizance of planetary futures, drawing on the ambiguous and murky line between man-made and natural. The project will be a Hyperreal Prototype: a building, typology, process, policy or set of events which institutionalise or will into being a widely-held perception and emergent spatial practice of replication or hauntings as powerful architectural forces. We will use the prototype as a research methodology: a device that is sited between the real, surreal, authentic, model and copy. We encourage time-based representational techniques, large-scale model-making and engagement with the ‘super’, ‘hyper’ and ‘natural’. “We need to know where we live in order to imagine living elsewhere. We need to imagine living elsewhere before we can live there” (Avery Gordon 2008).

“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” (Baudrillard, 1994).

The word prototype derives from the Greek πρωτότυπον prototypon, “primitive form”, neutral of πρωτότυπος prototypos, “original, primitive”, from πρῶτος protos, “first” and τύπος typos, “impression”. Architecture has thrived on the presence of the ghostly prototype: from phantom cities to model cities, prototypes that were never built, to massproduced, globalised models. The architectural prototype is the ideal example, perfect copy, dream that was never built, tool of the revolution yet to come, sign of a lost civilisation, simulacra and seat of power. The line between the model and the real, pharaoh and robot, authentic and copy is blurred and haunted by history.

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10 MICRO-ESSAYS ON HYPERREAL PROTOTYPES

REFERENCES 1 - The Winter Vault, Anne Michaels 2- OMA, Hoolhaas, R, & Mau, B. 1995.

S,M,L, XL. The Monacelli Press.

10 MICRO-ESSAYS ON HYPERREAL PROTOTYPES

ORIGINS

REFERENCES

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 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,

3 - Baruch Spinoza, Ethics Part V Proposition XIII, Proof.

4- Beloved, Toni Morrison p. 35 5 - Baruch Spinoza, Ethics Part V, Proposition XXIII 6- Berger 7- Anthony Bogues 8- Avery Gordon p.6

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 Why did Ramses build Abu Sunbul?

When did Ipsambul become Abu Sunbul, become Abu Simbel?

What comes next?

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

hover, float in the air,

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 PROTOTYPE

the entire camp, three thousand men, stood silent and watched.

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Can a drawing replace a noun? - 6

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10 MICRO-ESSAYS ON HYPERREAL PROTOTYPES

REFERENCES 9 - Zora Neale Hurston, Their Eyes Were Watching God 10- Baudrillard, 1995.

15- dictionary.cambridge.org

10 MICRO-ESSAYS ON HYPERREAL PROTOTYPES

REFERENCES

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 MODEL We need to know where we live to imagine living elsewhere. We need to imagine living elsewhere before we can live there. - 5 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.

11 - Alexis Pauline Gumbs, 12- Shailja Patel 13- Audre Lorde 14- Cyborg Manifesto, 6. Donna Haraway

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 has your skin ever craved a texture you could not name? - 12 This is a struggle over life and death, but the boundary between science fiction and social reality is an optical illusion.-14 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

...

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

Have you ever taken a word in your hand, dared to shape your palm to the hollow where the fullness falls away? -12

And what about the human?

...cajoling is the nautre 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

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UNIT STAFF

UNIT LEADER Sarah de Villiers

Sarah is an architect and director at Counterspace - an all-women architecture, installation and research firm in Johannesburg. Sarah’s interests lie in cultural and spatio-economic practices, as well as elements which involve ‘otherness’ – particularly practices which embed themselves as unexpected systems, defying logics of surrounding scale, time, accessibilities, identity or broader policy environments. Preceding co-leading Unit 18 Hyperreal Prototypes with Dr Huda tayob, Sarah has also taught for three years at the Graduate School of Architecture, UJ, within Unit 14: Rogue Economies, concerned with emergent post-apartheid urban economies in Johannesburg; while also having worked at worked at Mashabane Rose Associates following her masters degree at the University of the Witwatersrand, Johannesburg.

Neil Spliller. Analysis of Beauty (Part Two):.

www.counterspace-studio.com

UNIT LEADER Dr Huda Tayob

Dr Huda Tayob is History & Theory Programme Convener at the Graduate School of Architecture, University of Johannesburg. She holds a PhD from the Bartlett School of Architecture, UCL and a Master’s degree in Architecture from the University of Cape Town.

Her research interests include a focus on migrant, minor and subaltern architectures; the politics of invisibility; and the potential of literature to respond to archival silences in architectural research.

She has previously taught at the Bartlett School of Architecture, UCL, and worked as a researcher at LSE. Her recent publications include ‘Subaltern Architectures: can drawing “tell” a different story?’ (2018, Architecture and Culture.) and “The Unconfessed Architectures of Cape Town” (2020). racespacearchitecture.org

UNIT ASSISTANT Adam Osman

Adam is a candidate architect at Counterspace. He graduated from the Graduate School of Architecture, University of Johannesburg, where he received Masters with Distinction from Unit 14 Rogue Economies.

His interests lie in how Johannesburg is shaped in dramatic ways by its economic practices, tactics and transactions and is currently exploring ways to build a relevant architectural literacy around the themes of domestic security. Preceding his position with Unit 18, he tutored for at the Graduate School of Architecture, within Unit 14: Rogue Economies, concerned with emergent post-apartheid urban economies in Johannesburg; while also having worked at UrbanWorks Architecture & Urbanism following his master’s degree.

Adam will provide administrative support to the unit.

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18+ UNIT SUPPORT STAFF - INTERNAL TEAM

18+ UNIT SUPPORT STAFF - EXTERNAL CROSS-DICIPLINARY

DIGITAL SUPPORT SEMINARS Jesse Dymond Steven Moore Reben Smit

The Unit will at time-to-time bring in 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 are wellexperienced graduates or digital representation specialists.

GUEST TUTORAGE Adam Osman Max Phori Maxwell Mutanda Other researchers, architects and artists listed elsewhere.

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

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.

TRANSLATION INTO THE ARTS Ann Roberts & TMRW Gallery

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

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.

TRANSLATION INTO THE DIGITAL Tegan Bristow Dale Deacon

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

TRANSLATION INTO TEXT Sara Salem Fouad Asfour

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.

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Genres cross; fiction becomes reflection; archaeology becomes an unpredictable form of projective technology; and even the Earth itself gains an air of the non-terrestrial.

- Mannaugh, 2007

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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 which 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 propeerties / simulate / fold /

The Unit seeks to deliberately challenge the practice of copying in space-making and thought production. The Unit translates a phenomena 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 /

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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 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)’.

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METHODOLOGIES

In addition to the broader framing of methodlogical approaches to the Unit (provided on the sheet preceding), the Unit also strongly encourages cross-dicipinary representation forms (for example into film, performance, sculpture, intallation-making and digital media). This is supplemented through the 18+ SEMINAR SERIES which is further elaborated on, on following pages. _________________________________

REFERENCES ON METHODS • • • • •

Lebbeus Woods: https://lebbeuswoods.wordpress.com/ Interview with Mills & Jones, Architectural Review January 2020.

Chris Woebken: https://chriswoebken.com/ Extrapolation Factory: https://extrapolationfactory.com/ Interesting Materiality: Institute of Making UCL: https://www. instituteofmaking.org.uk/materials-library

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

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Far Left: Kulper, P. 1997. David’s Island Strategic Plot Drawin Adjacent Left: Giordano & Hamman.

Capsule Hotel. In the Barlett Book for 2013.

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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: • • • • • •

18+ SEMINAR SERIES

18+ SEMINAR FILM TUTORS Stephen Steyn Zaheer Cassim

FILM & ARCHITECTURE

18+ SEMINAR INSTALLATION & ARCHITECTURE TUTORS Counterspace Darren Sampson

EXHIBITION, INSTALLATION & ARCHITECTURE

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

Visit to TMRW Gallery and participation in the Fuk’gagesi 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

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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.

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.

Left: Phuong Tram Below: Sewing Borders,

Above Left: Diller-Scoffidio. Left: Tree of Codes, Paris Opera Ballet.

Above: Do Ho Suh: The Passage/s

SITE - HAUNTINGS OF EGYPT

COLLABORATORS Sara Salem (Egyptian scholar and sociologist, LSE) Dr. Mohamed Elshahed (AU Cairo) Prof. Magda Mostafa (AU Cairo)

This year, Unit 18 will travel to Egypt as the fulcrum of a globalized ancient world for centuries. Egypt continues to haunt architectural and identity production in the replicas of pyramids, sphinxes and obelisks -- transported and rebuilt worldwide. Looking at both very old, and rapidly emerging phenomena, we will explore the spaces of the Arab Spring, Valley of the Gods, histories of paper and writing, the Rosetta Stone, Suez Canal, Silk Road and New Silk Road, Cairo and New Cairo, Library of Alexandria, Geniza documents and Fustat. Our research will focus on the haunting presence of the supernatural in its otherworldly, digital, analogue and ghostly forms. We will establish a relationship and research exchange at the American University of Cairo (both with academics and students in its architecture and digital arts school), also with the purposes of developing a longer-spanning cross-cultural exchange with students on the continent.

This site, and the apertures developed for remnants, ghosts and transfers may be later applied by the student on a related but elsewhere site, under the guidance of the Unit Tutors. What is learnt is intended to foster a new way of seeing or interpreting global processes which occur in Johannesburg too, in comparable but also vastly different ways.

Logistics Note: Under the recommendation by the UJ Internationalisation Office, Budgetry, application and safety logistics will be shared prior to the trip. Please ensure that your passport is valid, without expiry at least for the next 6 months after March/April 2020.

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MASTERCLASS & EXCURSIONS

PALOMA TORRES MASTERCLASS WITS ARCHEOLOGY DEPARTMENT TMRW GALLERY

In addition to the main Unit field-trip to Egypt, the course will include several Johannesburg-based site or lecture visits to support ongoing thematic explorations and conversation. Our coursework includes visits and/or participation in the following: •

Otherwhere Joburg: Johannesburg walking tour led by Jhono Bennett of spaces which attribute strong relationship to ‘otherwheres’. This incldues Chinatown, Diagonal Street, Fordsburg and the Medical Arts Building / Bree St Precinct.

•

Visit and guided tour of the Wits Archaeology Department by Professor Bruce Rubidge. This will encompass viewing of original historic artefacts and replication procedures of these.

•

Interaction with Paloma Torres (Mexico) Masterclass.

•

Tour and talk of the TMRW Gallery at Keyes Art Mile, Rosebank, led by Ann Roberts, with talk by selected South African artists who work in ‘hyperreal’ media.

•

Participation by the Unit in the Fak’ugesi African Digital Innovation Festival in August 2020 - in collaboration with Tegan Bristow.

•

Visit and established relation with the UJ TechnoLab (Bunting Road Campus) with VR and AI technology & tools, tour and introduction led by Dale Deacon.

•

Unit 18-led public-facing masterclass, in collaboration with U12R on Hyperreality & Hybrids in the 2nd Semester.

UJ TECHNOLAB HYPERREALITY & HYBRIDS MASTERCLASS

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Rachel Whiteread. House. 1993.

FUK’UGESI FESTIVAL

REVIEWS & EXHIBITIONS

GUEST CRITICS FOR 2020 Paulo Tavares (Curator, Chicago Architecture Biennial, Goldsmiths London) Rahesh Ram (Unit Tutor, Mythologies at University of Greenwich London) Stephen Steyn (Masters Lecturer, TUT) Maxwell Mutanda (Cape Town, Harare) Dr Thandi Loewenson (RCA, UK) David Roberts (UCL, UK)

Leave Me Behind, Ponte. Drawing by Pather, T. Coutnerspace. 2019.

Kirsten Doermann (Wits)

This year, the Unit invites several key thinkers and practitioners who span across architecture, the arts, sociology, technology and archaeology. The intention of the critique is to strive for internationalstandards, (to keep both Unit teaching and student work in check), and to also establish wider-reaching connections for students beyond the school into post-graduate opportunities where possible. The Unit encourages the potential of these relationships and fosters an entrepreneurial spirit in its students. By forging connections beyond the confines of the school, ideas and impact are pushed -- and as far as possible are encouraged to be tested in the real worth or on their own stead, of course within responsible and reasonable framings. this includes encouragement in pursuing publishing one’s research, making/ prototyping concepts and pursuing widening networks of interested parties in the student’s individual work, beyond the Unit.

The year will include three large-scale reviews (in quarter 1, 2 and 4), with smaller interim reviews between these. The Quarter 4 Review will include a public-facing exhibition of work for students to showcase their work and installations to a wider audience. The format of this will be determined in conversation with the Unit Tutors, tailored to the student’s project requirements.

Ruth Hardinger As above / So Below

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There is a loneliness that can be rocked. Arms crossed, knees drawn up, holding, holding on, this motion, unlike a ship’s, smooths and contains the rocker. Its an inside kind- wrapped tight like skin. Then there is the loneliness that roams. No rocking can hold it down. It is alive. On its own. A dry and spreading thing that makes the sound of one’s own feet going seem to come from a far-off place.

- Beloved, Toni Morrison

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REFERENCE LIST

LINK ON SHAREPOINT DRIVE TO RESOURCES

TEXT

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

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Amado, J. 1993. The War of the Saints. New York: Bantam Books.

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Appadurai, A.1986. Introduction: commodities and the politics of value. Cambridge: University Press p3

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Benjamin, W. 1999. The Arcades Project. Eiland, H & McLaughlin, K (trans). Cambridge: Belknap Press of Harvard University Press.

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Beukes, L. 2016. Zoo City. Johannesburg: Mulholland Books.

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Berger, J. 2008. Ways of Seeing (1st ed.). London New York: British Broadcasting Corporation and Penguin Books.

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Borch, C. 2011. Foamy Business: On the Organizational Politics of Atmospheres. Amsterdam: University Press BV

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Calvino, I. 1997. Invisibles Cities. London: Vintage Books.

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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 (İKSV)

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Koolhaas, AMO, Harvard Graduate School of Design. 2014.

Elements. Rotterdam: Marsilio.

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Presner, T., Shepard,D. & Kawano, Y. 2014. HyperCities: Thick Mapping in the Digital Humanities (metaLABprojects). Harvard University Press;

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Mollon, P. 1996. Freud and False Memory (Post Modern Encounters). Totem Books: USA .

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Patel, S. 2010. Migritude. New York: Kaya Press.

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Shulz, B. 2008. The Street of Crocodiles and Other Stories.

London: Penguin Classics.

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Sontag, S. 2001. On Photography. London: Picador

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Sorkin, M (ed). 1992. Variations on a theme park. The new American city and the end of public space. New York: Noonday.

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Tarde, G. 1962. The Laws of Imitation. Trans EC Parsons, Gloucester, MA.

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Tafuri, M. 1976. Architecture and Utopia: Design and Capitalist Development .Massachusetts : MIT Press.

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Turner, V. 1969. The Ritual Process: Structure and Anti-Structure.

New York: Aldine de Gruyter.

Yusoff, K. 2018. A Billion Black Anthropocenes or None (Forerunners: Ideas First). Univ Of Minnesota Pres.

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Baudrillard, J. 1994. Simulacra and Simulation (The Body, In Theory: Histories of Cultural Materialism). University of Michigan Press.

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Deleuze, G. 1995. Difference and Repetition. Columbia University Press; Revised ed. edition

FILM

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Gordon, A. 2008, Ghostly Matters: Haunting and the Sociological Imagination. Minneapolis: Univ Of Minnesota Pres.

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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)

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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.

REFERENCE LIST

Kholeif , O. 2018. Goodbye, World!: Looking at Art in the Digital Age (Sternberg Press)

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Baloji (dir). 2019. Zombies [Film].

•

Baloji (dir). 2019. Future is Ours [Film].

•

Guzmán, P (dir). 2011. Nostalgia for the light. [Film]. Icarus Films.

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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

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Hitchcok, A. (dir) 1951. Strangers on a Train. [Film]. Transatlantic Pictures.

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Wachowski, L & Wachowski, L (dir) & Silver, J (prod). 1999. The Matrix. [Film]. Warner Bros. Pictures.

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EGYPT RESOURCES

EGYPT RESOURCES

LINK ON SHAREPOINT DRIVE TO RESOURCES

TEXT

WEBSITES

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

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Ghosh, A. 1994. In an Antique Land: History in the Guise of a Traveler’s Tale. Visalia: Vintage Books.

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Ghilles, F. 2019. China’s Deep Pockets in Egypt. Viewed at: https://thearabweekly.com/chinas-deep-pockets-egypt

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Hamid, A. 2020. Hassan Fathy and Continuity in Islamic Arts and Architecture: The Birth of a New Modern. Cairo: The American University in Cairo Press.

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Greenhouse, E. 2013. Treasures in the wall. Viewed at: https:// www.newyorker.com/books/page-turner/treasures-in-the-wall

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Kingsley, P. 2015. A new New Cairo: Egypt plans £30bn purposebuilt capital in desert . [Online]. Viewed at: https://www.theguardian.com/cities/2015/mar/16/new-cairo-egyptplans-capital-city-desert.

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Keeton, R & Provoost, M. 2019.. New Cities in the sand: Egypts dream to conquer the desert.Viewed at: https://www.theguardian. com/cities/2019/jul/10/new-cities-in-the-sand-inside-egypts-dreamto-conquer-the-desert

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MENA. 2019. China’s BRI boosts Egypt’s development via massive infrastructure projects: Xinhua . Viewed at https://www. egypttoday.com/Article/1/68016/China-s-BRI-boosts-Egypt-sdevelopment-via-massive-infrastructure

•

Moore, S. 2019. [Online]. Viewed at: https://www.apollo-magazine. com/art-d-egypte-cairo/ on 2020/01/20.

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Mahfouz, N. 1992. Midaq Alley. Norwell: Anchor.

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Salem, S. 2020. Anticolonial Afterlives in Egypt: The Politics of Hegemony (The Global Middle East). Cambridge University Press.

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Salem, S. 2018. On transnational feminist solidarity: the case of Angela Davis in Egypt. Journal of Women in Culture and Society 43 (2), 245-267.

•

Salem, S. 2019. Haunted histories: Nasserism and the promises of the past. Middle East Critique 28 (3), 261-277.

•

Ahdaf Soueif, A. 2011. The Map of Love: A Novel. Norwell: Anchor.

•

Michaels, A. 2010. The Winter Vault. Visalia: Vintage International.

•

Bayat, A. 2013. Life as Politics: How Ordinary People Change the Middle East, Second Edition. Redwood City: Stanford University Press.

•

Michaelson, R. 2018. Cairo has started to become ugly. Viewed at: https://www.theguardian.com/cities/2018/may/08/cairo-why-egyptbuild-new-capital-city-desert

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Bayat, A. 2017. Revolution without Revolutionaries: Making Sense of the Arab Spring. Redwood City: Stanford University Press.

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Unknown Author, Unknown Date. Wedian:Cairo’s new administrative capital. Visited at: http://www.udc5.com/project/ wedian-new-capital-city/

FILM

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•

1957. Afrique Sur Seine. [Film] France: s.n.

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Shawky Hassan , M. (dir). 2015. And on a Different Note. [Film] Egypt: s.n.

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Maamoun, M. (dir). 2016. Dear Animal. [Film]. Egypt: s.n.

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Nagy, A. 2016. (dir) Holy Zero. [Film] Egypt: s.n.

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El Sawah, H. (dir). 2007. 2007. [Film] Egypt: s.n. https://mosaicrooms.org/event/egyptian-shorts/

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Noujaim, J. (dir) Amer, K. (prod). 2013. The Square. [Film].

Noujaim Films.

OTHER: • Egyptian feminist: http://www.monaeltahawy.com/ •

Nawaal El Saadawi http://infed.org/mobi/nawal-el-saadawi-a-creative-and-dissidentlife/

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Sameera Moussa: egyptian scientist https://medium.com/@ccdecou/week-science-history-sameeramoussa-egyptian-89cdc6312838

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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 @barlettkiosk

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BLDG Blog http://www.bldgblog.com/

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Campus in camps http://www.campusincamps.ps/

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Mass Context https://www.mascontext.com/issues/

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KoozArch https://www.koozarch.com/

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BLANK Space https://blankspaceproject.com/

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SuperColossal http://supercolossal.ch/

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ArchTalks http://archtalks.com/

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RIBA President Medals http://www.presidentsmedals.com/

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ArchiPRIX https://www.archiprix.org/2019/

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American University of Cairo- Architecture Department https://sse.aucegypt.edu/departments/architecture

TECHNOLOGY & MAKING SITES:

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GENERAL RESOURCES / BLOGS

•

Fak’ugesi http://fakugesi.co.za/

•

Cairotronica http://www.cairotronica.com/

ECOLOGICAL / BIOLOGICAL : •

http://www.exploration-architecture.com/studio/philosophy

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Neri Oxman works https://neri.media.mit.edu/index.html

INSTALLATIONS/ PROJECTS OF INTEREST: •

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

•

MIT Media Lab https://www.media.mit.edu/

•

Interactive Architecture Lab http://www.interactivearchitecture.org/

•

Social Glitch. 2015. Viewed at: http://www.theoriesinmind.net/ socialglitch/english/

•

Make Magazine https://make.co/

•

Le Terriotoire des Sens http://territoiredessens.blogspot.com/

•

TMRW Gallery https://tmrw.art/

•

Are We Human? 3rd Instanbul Design Biennial http://arewehuman.iksv.org/

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COURSE PLANNER

PROJECT 1

Project 1: Future Remnants: Phantom Limb 1Week Friday 14th February – Thursday 20h February

PROJECT 2

Project 2: Future Remnants: Sewing Borders 1Week Friday 21st February – Thursday 27h February.

PROJECT 3

Project 3: Future Remnants: Digital Artefact. Gravity Fatigue 1Week (9 days) Friday 28st February – Monday 9th March

PROJECT 4

Project 4: Future Remnants: Strange Fruit 1Week Monday 10th March – Thursday 19th March

QUARTER 1 REVIEW / PIN-UP

Thursday 19th March FIELD TRIP & PROJECT 5

Project 5: Future Remnants: Dirty Museum Duration: 1.5 Weeks Sunday 29th March – Thursday 9th April

PROJECT 6

Project 6: Interview with a City Duration: 1 Week Thursday 9th April – Thursday 16th April

PROJECT 7:

Project 7: Furniture Without Memories 1 week Friday 17th April – Thursday 23rd April

QUARTER 2 REVIEW

Project 8: Title: Ghostly Matters 3 weeks Tuesday 28th April – Monday 18th May MDP

Live Calendar (regularly updated) avaiable here:

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https://docs.google.com/spreadsheets/d/1Ktg-hBMuahWQxwz9l3HQel A06v30I1beM9yY79fBJYE/edit?usp=sharing

Accessed: http://pablogilcornaro.blogspot. com/2012/02/sections.html

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How can destinies be named? They often have the regularity of geometric figures, but there are no nouns for them. Can a drawing replace a noun?

I thought so this morning, now I’m not so sure.

- Berger 2011, Bento’s sketchbook

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