Royal College of Art | School of Architecture | ADS9 Extended Brief 2018 - 19
(y)our primitive love
a call for open architecture
Royal College of Art | School of Architecture | ADS9 Extended Brief 2018 - 19
(y)our primitive love a call for open architecture
Love hurts. Love tears us apart. The Open is both unbounded and precise. It does not mean ‘anything goes’, or a total absence of architectural elements. We have become dependent on walls to give us the ability to negotiate, share and reason with others. The idea of Openness rejects this compulsion to such familiar forms of division, destroys the power of the enclosure and wipes away historical orders. The Open destroys our reliance on architectural categories of type, context, scale, functions and style to conceive of space. The Open is beautiful. ADS9 envisages an architecture of love that sponsors new kinship ties and sublime purposelessness. We aim to create architecture that is defined by its spatial qualities and ability to cultivate the relationship between people and space. We imagine new architectonic forms for the emerging now as a means to give form to what lies ahead.
Installation for the exhibition “Arne Jacobsen - Absolutely Modern”, by SANAA. 2003
In 2018–19 we will continue to imagine unfamiliar, giant, open architectures that allow a multitude of strangers to live, work and sleep together under one roof. The core design project will be to design a 10,000m2 space for an emerging subjectivity. Our architecture – these new, open ‘megahouses’ for the multitudes – will strive to be free of hard subdivisions, walls, programme, façades, doors and locks and any kind of privacy that builds dependency. This is an architecture that takes precedence over those aspects of personal life like comfort, luxury, order and intimacy.1 We are inspired by primitive archetypes for their subtle spatial mediations and lack of subdivision. By primitive archetypes we do not mean the mythical origins of architectures, such as in Laugier’s Primitive Hut, or a simplistic crudeness in construction. Rather we mean architectures such as, the giant houses-as-village for tribes, original basilicas for the simple gathering of people, or the ‘natural landscapes’ – fields, clouds and caves, etc. – inhabited before buildings. These spatial forms existed before the invention of the architectural categories of programme, function, element and context.
Emerging Subjectivity
Les Cols Pavilions, by RCR Arquitectes. 2011
Dreamhack, a life of competitive play and hedonism. Jönköping, Sweden.
FOOTNOTE 1. Ábalos, I. (2017). The good life. A guided visit to the houses of modernity. Rev. ed. Zürich: Park Books. 2. Sennett, R. (2014). Together. New Haven: Yale University Press.
Emerging subjectivities tend towards openness as a way to negotiate agreements that can only be reached by living with others. This tendency towards radical collectivity is to live a dialogical existence, in which there is an absence of common ground, conflicts remain unresolved and no shared agreements are reached. Rather, through this process of indeterminate exchange, people become more aware of their own views and expand their understanding of one another.2 In 2017–18, ADS9 looked at a variety of conditions: how to live in new mega-families of strangers; how different generations can be ‘good neighbours’; how in rigid familial structures, the young lead a second sexually-intimate life outside of the home; new forms of work-life that are continuously lived, performed, filmed, edited and broadcasted; retired sun tribes whose living are governed by pure leisure; gender fluidity in male-only migrant labour camps; how to elevate mundane rituals in new secular mega-houses; and the Second Line’s pooling of collective resources as a means to construct new identities. For ADS9 this rich ensemble of characters, communities and emerging subjectivities is the context. In 2018–19 we will continue to engage with these and other emerging subjects and the worlds they create. We will seek to understand the underlying forces of change brought about by social-economic realities and technological shifts, which are altering the way spaces and infrastructures are constructed and how we maintain the needs of our bodies. Our topic is not just emerging social organisations, but also new forms of living, thinking and redefining social relationships.
Royal College of Art | School of Architecture | ADS9 Extended Brief 2018 - 19
ADS9 looks at the way we live, work, learn, play and love in the NOW.
Aura
Redeemed Christian Church of God, large scale religious rituals and collective living. Lagos, Nigeria.
ADS9 is concerned with designing spaces that provide open rational distribution and basic needs to collective labour, giving spatial qualities to collective play, scared practices, ceremonies, negotiations and enabling everyday life. Building on our previous studies of spatial organisations, in 2018–19 we will also experiment with spatial phenomena – asking how do we design an ‘Aura’ of openness? Walter Benjamin famously defined the concept of aura in relation to the atmosphere of distance and receptivity that surrounds ‘original’ works of art. Aura is a spatial quality beyond the two-dimensional or immediate – it is the distance at which the impression emerges, giving form to the relationship between the subject and the observer, the architectural space and its inhabitants. The manipulation of the environment is one of the most fundamental acts of architecture. The idea of using the senses, environment, energy and spatial perception as materials for constructing a new aesthetic no longer seems absurd. Spatial phenomena often indicate a diffusive experience that is spatially immaterial or indeterminate. Using the notion of aura, ADS9 will focus on the structure of experience - a spatial experience that is not confined to a single moment. How can we design aura as a form of organisation? As fields of spatial variation and mediation? As inspiration, ‘Megahouses’ suggest an architecture that does not seek to simply frame life, but allows different spatial qualities and the possibility of cultivating new forms of spatial, cultural and social relationships.
Distortion 19, by André Kertész. 1933
ADS9 believes the architectural project is where Space embodies and expresses knowledge and ideas. in 2018–19 we will continue to experiment with large-scale drawings and models as spatial constructs that envisage a new aesthetic. These radical representations span from the spatial to the indexical and performative, embracing the connection of architecture to the world beyond. ADS9 will imagine open primitive archetypes of modern life that embody a new and urgent beauty.
ADS9 Teaching Staff
John Ng studied architecture at the University of Bath and the AA, where he has taught since 2011. He is also a visiting lecturer at the RCA. He founded ELSEWHERE and practises architecture in London. His work has been shortlisted for, and has won, a number of international competitions. Zsuzsa Péter graduated with Diploma Honours from the AA in 2018. After previous experience at CRAB studio, she is now working at Farshid Moussavi Architecture. FOOTNOTE 3. Böhme, G., Böhme, G. and Engels-Schwarzpaul, A. (n.d.). Atmospheric architectures.
James Kwang-Ho Chung is a visiting lecturer at RCA, Intermediate 6 Unit Master at the AA, and an architectural designer for Hopkins. He has lectured and taught at the AA, RCA and Leeds School of Architecture.
Royal College of Art | School of Architecture | ADS9 Extended Brief 2018 - 19
Air Architecture, Yves Klein. 1961
A Call for Open Architecture Open is not the landscape that is given, but the one, highly artificial, that we can construct for ourselves to inhabit. Open is the space of constant negotiation and active presence – between us, our surroundings and those who we share it with. Open rejects imposed use and rigidly prescribed function – while not undefined but carefully organized, spatial condition do not dictate but only support actions that could happen. Open means new models of the live/work/play – new rituals and ‘axis’ of the everyday. Open wipes away historical orders of power, enclosures – to start anew -To wipe away architectural pre-conceptions – to destroy the house/office/school – destroy the programme - destroy the component (bathroom as typical shower, toilet, sink, vanity etc.) to make way. Open explodes what we know as housing, office etc. – explode the parts – think of how we begin with basic part of living/sleeping/playing etc. (e.g. Sou Fujimoto – the basic functions of life – not the programmes) – these clusters also developed in these histories. Open rejects our own compulsion to nostalgia in all of its forms … and inquire into how our technologies can transform us into completely new, loveable and interesting creatures. … Creatures who talk in a completely new language. Open means redefining room – as no longer something divided and but as little breathing room – “separate part of a building, enclosed by walls, a floor and a ceiling.” Before that room, or Proto-Germanic rümaz, or Old English rüm, meant spacious, roomy, open (Ðis rume land - the wide world), free, unrestricted, expansive, generous.
Open means redefining freedom – from individual exploits to be conquered and defended to that which is to be found in as a relationship with others who are different, and finding that conflict and difference is perpetual, beautiful and what makes us communal in the first place (the attraction of opposites) Open is unbounded, and yet, precise, specific and concrete. It does not mean an absence of walls and controls, but recognises what is the known and familiar form of division, and reimagines a new architectural form for the emerging now. Open does not mean “anything goes” or vast emptiness. It is spatially exuberant, finely tuned, calibrated and sophisticated. Open reclaims space as a point of reference. It holds a mirror to the world now and reestablish our relationship with it. Open is neither utopian nor dystopian, but speculative and visionary. It is at the tipping point of becoming reality, almost. Open is beautiful
Royal College of Art | School of Architecture | ADS9 Extended Brief 2018 - 19
Open means reconsidering the idea of privacy and boundaries – privacy comes from the “Latin word privare [which] means “to deprive” or “to rob.” Being in privato thus means being in a space wrested from a collective whole, which must be defended; an act of aggression against the community: one robs something and makes it inaccessible to others. Only then does it become possible to be apud se, chez soi, at home.”
About ADS9 The Project YR1 Studio Project 40 Credits | YR2 Thesis Project/Independent Research Project 60 Credits The main project is to design a new 10,000m2 space in a city, for an emerging community now, real or speculative. The design project is for a large community for living/working/ learning/playing/loving, an architecture with no walls, no enclosures, and no locks. The choice of the city will be defined by the subject/community chosen. ADS9 works in a parallel framework. We do not develop projects in a linear fashion, instead we will experiment with three core questions simultaneously. We will gradually establish links, that is, a critical intelligence between all three strands through an architectural project. Subject/Community – How to design a space for emerging modes of living, working, playing, learning and loving? How do people construct their subjectivity? Space – How to design a space that challenges the conventions of boundaries and enclosure? Technology – How to design a space with no boundaries generated with emerging technologies?
ADS9 Portfolio How do we experiment and design? Experiment with big format drawings. Coloured line-based drawings Experiment with big format models. 1:1 artefacts, scaled models and experimental TS models Experiment with big format book. Search & Research, TS Book (1st year, 120 pages max) Experiment with big writings. Seminars, Thesis, economic models, project statements
ADS9 main tool of experimentation will be coloured line based drawings and models. In 201718, ADS9 has built up a collective language of representation. For this year, we will push the extremities and radicality of our representation constraints, can you imagine drawings woven as tapestry, performative line drawings as films, or a hybrid between drawing projective drawings and models? On one hand they are highly technical drawings of the architectural projects; on the other hand, each student will develop highly individual representation techniques with coloured lines to design. We are deeply committed to beauty and spatial exuberance. Drawings that can quantify and qualify an urgent beauty. ADS9 believes the architectural project is where Space embodies and expresses knowledge and ideas; the portfolio then becomes the representation of that space. The architectural project and the portfolio are a form of cultural production that has to be intelligent, provocative and radical. We do not see a separation between research, provocation and design outputs, but the architectural project embodies all strands of experimentation to become the dominant focus of the portfolio.
Royal College of Art | School of Architecture | ADS9 Extended Brief 2018 - 19
ADS9 will be designing strange and fantastical spaces with a high level of design resolution, reaching the tipping point when a project almost becomes reality.
MA YR 2 Students 2nd year students will be asked to write two parallel texts for the project brief / thesis. The texts state the critical agenda and architectural proposal of the project. It has to be thoroughly researched and supported by reference readings and precedent projects. The project brief / thesis statements will form the core “backbone” of the project which will be revisited throughout the whole year to scrutinize its criticality. Design Strategy (Urban Strategy & Project Brief) YR2 20 Credits As architects we produce many forms of writing. They are open, operative writings that we use to establish a reciprocal working relationships with others. We write emails, standards, contracts, specification, scripts, AutoCad commands, rules, poems, song lyrics, excel spreadsheet, comments, text messages, manuals, articles, post-it notes. For ADS9, the design strategy is not a summary blurb for the studio project. It is an evolving piece of critical writing that should be designed as paper space, accompanied by a comprehensive individual dossier of research materials and bibliography. Alongside the HTS course “The Politics of the Urban”, the urban strategy forms part of the design strategy. For ADS9, the emerging subjectivity is the context. Students have to study and understand the socio-economic and technological forces that shape the physical form of the cities. How does your chosen emerging subjectivity relate to the city at large? How does your chosen topic form a dialogical existence with other social groups?
MA YR 1 Students Technical Studies YR1 20 Credits “Architects must generate technologies which are creative in operation, and not merely employ existing technologies as useful tools. The generation of such technologies may itself become the main creative task of the designer.” Cedric Price, Creativity and Technology Techniques et Architecture, March 1975
Pneumatic Dome, Frei Otto.
ADS9 believes that technology is a form of cultural construction that can be subjected to beauty and spatial modification. Too often architects use technology to apply to an already fully formed design, hence the promise of technology is severed from the creative operation of design. Technology essentially is a set of practical knowledge, which is culturally constructed through hi-jacking and infiltration into our daily lives. When air conditioning and fluorescent lighting become prevalent, we realise we can construct large continuous interiors; what are the equivalent technology now that can allow us to challenge our assumption of boundary? We would like to search for emerging technology now (micro and virtual systems, structural and environmental systems) to generate new forms of spatial organisations.
Experiments with soap film, Frei Otto.
ADS9 Technical Studies focus: - Fantastical and imaginative use of emerging technology to generate novel spatial organisations - Testing and developing physical and/or digital models - Technical studies journal (no longer than 120 pages) documenting development, case studies and how technology generate space
Royal College of Art | School of Architecture | ADS9 Extended Brief 2018 - 19
For 2018-19, the 1:1 experiment is a fundamental part of the studio project in term 2. The 1:1 is a work-in-progress physical detail or a simulation of structural / environmental / material phenomenon which can test the architectural limits of your project. How do you extract, translate and implement observations, failures and principles into a series of design iterations? Students should test the project to the brink of destruction.
Term 1 In term 1, we will be working in small groups of 3-4 students. Term 1 is structured as a series of short briefs to assemble a collective body of knowledge and spatial experiments for the core studio project. Individually, 2nd year students will develop a design strategy and the 1st year students will identify the main topic of experimentation for technical studies.
Brief 1
Model I 4.10.18 - 11.10.18 | Week 2 | Duration - 1 week Output - 1:100 Model | Group Work
Iterations of design models, Studio Olafur Eliasson.
We are diving head, heart and hands first into design. Each group of students will design a space of 2,500 m2. Each group will select either “cloud”, “field” or “cave” as a starting spatial strategy, and design a purely spatial construct as a scaled 1:100 model. Each model should have one unifying and bold colour or materiality. The challenge is to imagine an open architecture defined by the immaterial. How do you design space with senses, environment, energy or spatial perception? The construct is composed of abstracted space and objects. How can you decompose binary oppositions like inside | outside; city | nature? How do you define open? E.g.‘continuous interior’, ‘nomadic interior’ or ‘exterior as new interior’. The construct should have more than one spatial quality, with subtle variations in density and shifts in spatial qualities and organisation, without fragmenting and making dependent the whole.
What matters is… - A clear spatial principle constructed as a scaled model - Your ability to speculate highly imaginative and beautiful spaces - Your definition of “open”
Brief 2
Search & Research 11.10.18 - 15.11.18 | Week 3 - 8 | Duration - 6 weeks Output - Large format book | Group & Individual Work In the first half of the brief, we will focus on searching for Subject/Community, Space and Technology as a group. Towards the second half, we will focus on identifying individual project themes and researching your selected emerging conditions. The search and research will be accompanied by a seminar series to reflect and identify emerging topics on the Open for your projects. Throughout the brief, 2nd year student will draft the project brief/thesis and 1st year students will draft a technical studies statement identifying the main topic of experimentation for the core design project. The work will be assembled into a big format book for each group that provides a base of collective knowledge for the studio.
Royal College of Art | School of Architecture | ADS9 Extended Brief 2018 - 19
Iterations of design models, ADS9 2017-18
How to… Imagine a beautiful spatial experience Organise sequence of spaces, without determining a narrative Organise flows, without determining entrance and exits Organise nodes, without determining programmes Organise forms, without determining context Imagine a hybrid between interior and exterior spaces or natural and artificial environments.
1. Emerging Subjectivity The subjectivity should be a fringe social phenomenon and community that exemplifies what will be emerging as mainstream in 10 years, as a consequence of current technological shift and social/economic realities. Are there community who increasingly occupy the continuous interior or the space of absolute exposure? In the first half of the brief, we will identify and search for these emerging subject and community. In the second half of the brief, the Subject / Community should be defined by each student individually with critical readings and research. We will use texts and drawings to test the scalar limitations and hardness of boundaries of ‘family of strangers’ but also for new and variable forms and scales of ritual, everyday life together. A “modus operandi” should be identified that enables the emergence of the subjectivity and highlight the forms of behaviour and property held in common. For example, the co-housing projects of Zürich with all residents co-owning what is a virtually a city-in-city with housing ( in some cases from one room family unit to 17 room apartment as one ‘household’), schools, leisure spaces, cultural spaces, shops, restaurants etc. How are they organised? How do they relate to each other? What defines their collectivity? For some students, the subject / community can even be speculative in character, but it must be base on an extrapolation of reality. 2. Space For this brief, you will be exposed to exemplary buildings that exhibit qualities of open-ness. Study these buildings by re-drawing them. A series of digital skills workshop will take place alongside this brief to teach the use of Rhino, AutoCAD and Adobe Illustrator. Each student will have a set of precise architectural drawings and one interpretive drawing that embody the main spatial intention of the exemplary building. The study of exemplary buildings will form part of the seminar series Pepsi Pavilion. EAT.
What matters is… - An understanding of how open-ness is spatial-ised in the building scale - An understanding of how architects challenge and experiment with boundary and openness 3. Technology
Can Lis. Jorn Utzorn.
We will search for emerging technology (structural, environmental, construction, micro and virtual systems) from the last 10 years that may be hi-jacked to generate new spatial qualities and organisation. In the past, sophisticated environmental systems, vapour barriers, warm air curtains, air-conditioning enable vast continuous interiors to be constructed, what could be the equivalent technology now? Can you speculate what are the architectural consequences of the technology? What does it reject? Does it reject our need for a door, a window, furniture?
Brief 3
Seminar
A series of 6 seminars will expose you to a collection of texts in relationship to the core themes of the ADS: subjectivity, open architecture and aura. Students will have to study the texts and present them within an architectural context. The study of exemplary project from brief 2 will form part of the seminar.
Studio Trip Date TBC | Week 9 ADS9 will go on a road/train trip across Germany to experience exemplary buildings, visit architects and artists studios, and examples of co-living and co-working schemes.
Zollverein School of Management and Design. SANAA.
Royal College of Art | School of Architecture | ADS9 Extended Brief 2018 - 19
11.10.18 - 15.11.18 | Week 3 - 8 | Duration - 6 weeks Output – Seminar Presentation | Group Work
Brief 4
Model II 26.11.18 – 7.12.18 | WEEK 10-11 | Duration - 2 weeks Output - 1:100 Model, architectural drawings | Individual work Term 1 end by repeating the very first brief of the year. Each group will have to synthesise the knowledge and spatial experiments assembled through out the term by composing another pure spatial construct. The construct will again be 2,500 m2 using either “cloud”, “field” or “cave” as a spatial starting point. How to… Imagine a beautiful spatial experience Organise sequence of spaces, without determining a narrative Organise flows, without determining origins and destinations Organise nodes, without determining programmes Organise forms, without determining context Imagine a hybrid between interior and exterior spaces or natural and artificial environments. What matters is… - A clear spatial principle constructed as a scaled model - Your ability to speculate highly imaginative and beautiful spaces - Your definition of “open”
Term 2 & Term 3 The individual core design project is the main focus across Term 2 and 3. Big format drawings and models will be our main tools of experimentation. The architectural project gradually establish intelligent links between the three core question of the brief: Subject/ Community, Space and Technology.
Brief 5
Live project | Bits and Bytes 7.1.19 – 11.1.19 | WEEK 1 | Duration - 1 week YR1 40 Credits (Part of Studio Project) & YR2 participates also in Live Project We begin the new year working with glass artist Flavie Audi. We will experiment with a new type of aesthetic, techniques and physical materiality of glass. At 0.4mm it is an omnipresent material in our everyday life that separates our thumb and the digital world. We will design and make a feast of glass artfacts, knowledge, digital stuff, happenings and consumables for friends, strangers and enemies.
Royal College of Art | School of Architecture | ADS9 Extended Brief 2018 - 19
Cell-estial, Flavie Audi.
Bibliography Ábalos, I. (2017). The good life. A guided visit to the houses of modernity. Rev. ed. Zürich: Park Books. Sennett, R. (2014). Together. New Haven: Yale University Press. Berardi, F. (2017). Soul at work. [S.l.]: Aakar Books. Berardi, F. (2018). Communism is back but we should call it the therapy of singularisation. [online] Generation-online.org. Available at: http://www.generation-online.org/p/fp_bifo6.htm Hayden, D. (1981). The grand domestic revolution. Cambridge, Mass.: MIT Press. Carpo, M. (2017). The second digital turn.: MIT Press Interiors Forum World (2015) Nomadic Interiors Fujimoto, S. (2008). Primitive future. Tokyo: INAX. Ito, T. and Daniell, T. (2015). Tarzans in the media forest. London: AA Publications. Bauman, Z. (2015). Liquid modernity. Cambridge, UK: Polity Press. Wigley, M. (1998). The Architecture of Atmosphere. Gütersloh: Bertelsmann-Fachzeitschr.GmbH. Pallasmaa, J. (2013). Sfeer bouwen / Building atmosphere. Rotterdam: NAI. Díaz Moreno, C.and García Grinda, E. (2014). Third natures. [London]: Architectural Association. Ishigami, J. (2013). Another scale of architecture. Tokyo: Seigensha.
Böhme, G., Böhme, G. and Engels-Schwarzpaul, A. (n.d.). Atmospheric architectures. Otto, F., Vrachliotis, G., Kleinmanns, J., Kunz, M. and Kurz, P. (n.d.). Thinking by modeling.
Royal College of Art | School of Architecture | ADS9 Extended Brief 2018 - 19
Scuderi, M. P (2014). Philippe Rahm Architectes: Constructed Atmospheres. Milano: Postmedia.
ADS9 Schedule
All studio tutorials and digital skills workshop take place on Thursdays unless otherwise stated.
Term 1 Term 1 Week 1 24.9.18 - 28.9.18 27.9.18 | ADS Presentations Term 1 Week 2 1.10.18 - 5.10.18 2.10.18 | ADS Interviews Model 1 Term 1 Week 3 8.10.18 - 12.10.18 Model I Seminar 1 | Search & Research Term 1 Week 4 15.10.18 - 19.10.18 Seminar 2 | Search & Research Term 1 Week 5 22.10.18 - 26.10.18 Seminar 3 | Search & Research Term 1 Week 6 29.10.18 - 2.11.18 Seminar 4 | Search & Research Term 1 Week 7 5.11.18 - 9.11.18 Seminar 5 | Search & Research 9.11.18 | YR1 Draft TS Brief 9.11.18 | YR2 Draft Design Strategy Term 1 Week 8 12.11.18 - 16.11.18 Seminar 6 | Search & Research 15.11.18 | Search & Research Pin-up Term 1 Week 9 19.11.18 - 23.11.18 Studio Trip TBC Term 1 Week 10 26.11.18 - 30.11.18 Model II
Term 1 Week 11 3.12.18 - 7.12.18 Model II Live Project Review Term 1 Week 12 10.12.18 - 14.12.18 10.12.18 | Cross Crit 11.12.18 | End-of-Term Crit 11.12.18 | YR1 TS Brief 13.12.18 | YR2 Design Strategy
Term 2 Term 2 Week 1 7.1.19 - 11.1.19 Live Project
18.3.19 - 22.3.19 Studio Project | TS 1:1 Term 2 Week 12 25.3.19 - 29.3.19 Studio Project | TS 1:1 25.3.19 | YR2 HTS Draft Submission Term 2 Week 13 1.4.19 - 5.4.19 Studio Project | TS 1:1 4.4.19 | End-of-Term Crit
Term 3
Term 2 Week 2 14.1.19 - 18.1.19 WIP Show
Term 3 Week 1 29.4.19 - 3.5.19 Portfolio 29.4.19 | YR1 MS Final Submission 29.4.19 | YR2 HTS Final Submission 29.4.19 | YR2 PP Final Submission
Term 2 Week 3 21.1.19 - 25.1.19 Studio Project
Term 3 Week 2 6.5.19 - 10.5.19 YR2 Pre-exam Pin up
Term 2 Week 4 28.1.19 -1.2.19 Studio Project TS Tutorial Start
Term 3 Week 3 13.5.19 - 17.5.19 Portfolio
Term 2 Week 5 4.2.19 - 8.2.19 Studio Project Term 2 Week 6 11.2.19 - 15.2.19 Studio Project Term 2 Week 7 18.2.19 - 22.2.19 Mid-term crit Term 2 Week 8 25.2.19 - 1.3.19 Studio Project | TS 1:1 YR2 Pre-exam Table Reviews Term 2 Week 9 4.3.19 - 8.3.19 Studio Project | TS 1:1 Term 2 Week 10 11.3.19 - 15.3.19 Studio Project | TS 1:1 YR1 Pre-exam Table Reviews Term 2 Week 11
Term 3 Week 4 20.5.19 - 24.5.19 Portfolio Term 3 Week 5 27.5.19 - 31.5.19 YR1 Interim Exam Term 3 Week 6 3.6.19 - 7.6.19 YR2 Final Exam Term 3 Week 7 10.6.19 - 14.6.19 Show Preparation 14.6.19 | YR1 TS Final Submission Term 3 Week 8 17.6.19 - 21.6.19 Graduate Show 21.6.19 | YR1 CHS Final Submission Term 3 Week 9 24.6.19 - 28.6.19 Graduate Show
Royal College of Art | School of Architecture | ADS9 Extended Brief 2018 - 19
Please refer to the MA Architecture Guide for full schedule of complementary studies courses.