LONDON TIME

Architectural Association School of Architecture 4 - 22 JULY 2016

In the summer of 2016, when you land at one of London’s airports, most of you will change your watches while still on the runway to London-time, GMT 0:00. But what is London; beyond the place and time where east meets west, where each day, year, millennium begins? Is it time to start over? This summer we will imagine the city as though experienced along its continuum. We will design a London that goes backwards and forwards through time, and will learn to design for a time-span, not just a single moment.

The course is aimed at people who want to change their architectural lives, and experience first-hand the AA School’s famed unit system of teaching and learning architecture, driven by intensive agenda interests.

This three-week, full-time course presents a challenging programme of design studios, field study, seminars and lectures. It offers participants a range of diverse design approaches, agendas and techniques, and represents a uniquely intensive and intimate environment that aims to expand formal and intellectual resources. Current students, recent graduates, architects, designers and other creative minds are all welcome.

LONDON TIME Architectural Association School of Architecture Summer School 2016 Director Natasha Sandmeier Programme Co-ordinator Andrea Ghaddar Assistant Co-ordinator Miruna Mazilu UNIT 1 CLOCKWORK LONDON Antoine Vaxelaire, Ariadna Barthe, Derek Dellekamp and Frida Escobedo UNIT 2 SUBMLIME OASIS IN-TRANSIT Arantza Ozaeta and Alvaro Martin UNIT 3 FILMSCAPES: REFLECTIONS ON LONDON’S EAST END Aphrodite Stathopoulou and Melanie Wavamunno UNIT 4 LONDON (TEASING) TIME Ana Marti-Baron and Clement Blanchet UNIT 5 2 SECONDS CITY Sabrina Morreale and Valerio Massaro UNIT 6 MEMORY DEVICES Onur Ozkaya and Vikrant Tike UNIT 7 THE (NEW) MONUMENT: PATCHWORKING ENTROPIES Alvaro Velasco Perez and Javier Anton

LONDON TIME SUMMER SCHEDULE 2016

WEEK 1 4 July Mon 9:00 Registration, Coffee + Croissants Dining Room & Soft Room 10:30 Introduction 4 Morwell St 11:00 Unit Presentations and Selections 4 Morwell St

13:00 Lunch Dining Room GROUP 1,2,3 14:30 Computer Lab Introductions 16 Morwell St GROUP 4,5,6 15:30 Computer Lab Introductions 16 Morwell St GROUP 5 15:00 Tour of the AA Entrance 36 Bedford Sq GROUP 6 15:00 Tour of the AA Entrance 32 Bedford Sq GROUP 3 16:00 Tour of the AA Entrance 36 Bedford Sq GROUP 4 16:00 Tour of the AA Entrance 32 Bedford Sq GROUP 1 16:30 Tour of the AA Entrance 36 Bedford Sq GROUP 2 16:30 Tour of the AA Entrance 32 Bedford Sq 17:00 Team Announcements + Drinks Terrace 5 July Tue 10:00 - 22:00 Design Studio 4 Morwell St 6 July Wed 10:00 - 22:00 Design Studio 4 Morwell St

18:00 *FORMAT New Soft Room 7 July Thu 10:00 - 22:00 Design Studio 4 Morwell St 8 July Fri 10:00 - 22:00 Design Studio 4 Morwell St

18:00 *FORMAT New Soft Room 9 July Sat 10:00 - 22:00 Design Studio 4 Morwell St 10 July Sun CLOSED (Free Day!)

WEEK 2 11 July Mon 10:00 - 22:00 Design Studio 4 Morwell St 12 July Tue 10:00 - 17:00 INTERIM REVIEW ALL UNITS 33 First Floor Front & Rear 13 July Wed 10:30 - 12:30 *AA STUDENTS PRESENT WORK New Soft Room 13:00 - 22:00 Design Studio 4 Morwell St 18:00 *FORMAT New Soft Room 14 July Thu 10:00 - 22:00 Design Studio 4 Morwell St 15 July Fri 10:30 - 22:00 Design Studio 4 Morwell St 18:00 *FORMAT New Soft Room 16 July Sat 10:00 - 22:00 Design Studio 4 Morwell St 17 July Sun 10:00 - 22:00 Design Studio 4 Morwell St

WEEK 3 18 July Mon 10:00 - 22:00 Design Studio 4 Morwell St 19 July Tue 10:00 - 22:00 Design Studio 4 Morwell St 20 July Wed 10:00 - 22:00 Design Studio 4 Morwell St 21 July Thu 10:00 - 22:00 Design Studio 4 Morwell St 22 July Fri 10:00 - 17:00 FINAL REVIEW! Rear Presentation Space 17:30 - late Summer School PARTY! Terrace ** WORKSHOP INTRODUCTIONS will take place on a per unit basis on 5,6,7 July ** DIGITAL PROTOTYPING LAB INTRODUCTIONS will take place on a per unit basis on 5,6,7 July ** Individual unit schedules and special events will be announced by unit tutors

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FORMAT

July 6 - July 15 2016

FORMAT is the AA’s Summer ‘live magazine’ that looks at the shapes that discourse and knowledge take. The sixth issue will focus on the idea of ‘Couple Format.’ Math-ematically speaking, a couple is the smallest unit of collaboration and therefore the most potent (or poisonous). Can we think of a working life together, or apart, as pos-sessing shape? Invited guests share their ideas on Couple Formats from the worlds of art, architecture, literature, philosophy and more. - Organised by Shumon Basar

WEDENSDAY 6 JULY 2016SAM JACOB and CATHERINE INCE

present the Couple Formats of architects DENISE SCOTT-BROWN & ROBERT VENTURI and RAY & CHARLES EAMES

FRIDAY 8 JULY 2016GUY MANNES-ABBOTT and JAMES WESTCOTT

presents the Couple Formats of writer GERTRUDE STEIN & salon host/cook ALICE B. TOKLAS

and performance artists MARINA ABRAMOVIĆ & ULAY

WEDNESDAY 13 JULY 2016CÉLINE CONDORELLI and AARON SCHUSTER

present the Couple Formats of philosopher HANNAH ARENDT & author MARY McCARTHY and philosophers GILLES DELEUZE & FELIX GUATTARI

FRIDAY 15 JULY 2016NATASHA SANDMEIER and MADELON VRIESENDORP

present the Couple Formats of New York’s urban mythologies 5TH AVENUE & BROADWAY and EMPIRE STATE & CHRYSLER BUILDINGS

ALL EVENTS TAKE PLACE IN THE NEW SOFT ROOM AT 600PM ENTRANCE IS FREE AND OPEN TO THE PUBLIC

www.format.aaschool.ac.uk for more details

AA OPENING HOURS Studio Hours Monday – Saturday (and Sunday 17 July) 10:00 – 22:00 Digital Prototyping Lab Monday – Friday 10:00 – 18:00 Computer Lab Monday - Friday 10:00 – 22:00 AA Workshop & Modelshop Monday 10:00 – 18:00 Tuesday – Thursday 10:00 – 21:00 Friday - 10:00 – 18:00 Saturday 10:00 – 17:00 Bookshop Monday – Saturday 10:00 – 18:30 Library Monday – Saturday 10:00 – 18:00 Printing Centre Monday – Friday 10:00 – 18:00 Bar Monday – Friday 9:15 – 19:00 Canteen Monday - Friday 12:15 – 14:30

UNIT 1

Antoine Vaxelaire, Ariadna Barthe, Derek Dellekamp and Frida Escobedo

Ariadna Barthe (SPAIN) Frida Escobedo (MEXICO) Derek Dellekamp (MEXICO) Antoine Vaxelaire (BELGIUM)

... AND YOU!

Directed by

UNIT 1

1. Speakers’ Corner

2. Kew Gardens

3. Colony Room

4. Kubrick’s Archive

5. Saint Paul’s Cathedral

6. BroadGate Bld

7. Mary’s Room

12. Warburg Library

11. Penguin Pool

10. Fun Palace09. John Soane Museum

08. War Room

AA Summer School4-22 July 2016

Unit 1Clockwork London

C H R O N O G R A P H I N GS P A C E

I n 1 6 4 8 , o n t h e e d g e o f L o n d o n , a g r o u p o f s c i e n t i s t s b u i l t a h o u s e i n w h i c h t h e y d r e a m t o f m a t e r i a l i s i n g t h e i r o b s e s s i o n s w i t h T i m e .

Tw o h u n d r e d s y e a r s l a t e r, i n 1 8 8 3 , t h e y s u c c e s s f u l l y i n v e n t e d t h e f i r s t m e c h a n i c a l c l o c k a n d s u b s e q u e n t l y t h e d i a g r a m t h a t h a s

o r d e r e d t h e w o r l d s i n c e t h e n : G M T.

I n 2 0 1 6 , Clockwork London w i l l p u r s u e a n e q u a l l y a m b i t i o u s o b j e c t i v e a n d f o l l o w a s i m i l a r w o r k i n g m e t h o d t h a n t h e s e s c i e n t i s t s .

Objective:P a r t i n g f r o m t h e p r i n c i p l e t h a t t i m e a n d s p a c e a r e i n s e p a r a b l e a n d r e c i p r o c a l ,

w e a i m t o e x p l o r e t i m e a s t h e t r i g g e r f o r p e r c e i v i n g , r e p r e s e n t i n g a n d i m a g i n i n g s p a c e .

1 . P e rc e i v e : E x p e r i e n c e a n i c o n i c r o o m o f L o n d o n a t o p p o s i n g t i m e s ( A M & P M ) .

2 . R e p re s e n t : R e v e a l w h a t m a k e s i t a u n i q u e a n d f a s c i n a t i n g s p a c e .

3 . I m a g i n e : P h y s i c a l l y c r e a t e y o u r o w n n e w R o o m a t o p p o s i n g t i m e s ( A M & P M ) .

4 . C o n s t r u c t : C o l l e c t i v e l y a s s e m b l e t h e C l o c k w o r k L o n d o n .

Method:

B u i l d i n g a C l o c k i n w h i c h H o u r s b e c o m e S p a c e s .

Flamsteed House

!st Mechanical Clock

Working on the MechanismOctagon Room

Its Mechanism

Unit 1’s Studio Space

AA Summer School4-22 July 2016

Unit 1Clockwork London

What: U s i n g y o u r p e r s o n a l i n t e r e s t s a n d o b s e s s i o n s a s a l e n s , y o u w i l l d r a w a l a r g e s c a l e t a b l a g r a m t h a t u n c o v e r s t h e s p e c i f i c i t i e s o f y o u r

r o o m .

How: W e w i l l i n t r o d u c e t w o g r e a t t o o l s o f a r c h i t e c t u r e

a n d t e a c h y o u h o w t o c o m b i n e t h e m i n o n e d r a w i n g .

What: Yo u r t a b l a g r a m w i l l r e v e a l m u l t i p l e c o n d i t i o n s o f y o u r r o o m ’s e n v i r o n m e n t . T h e C r o n o t o p o w i l l

b e t h e p h y s i c a l t r a n s l a t i o n o f t h e s e q u a l i t i e s i n t o a c o n s t r u c t e d

s p a c e ( m o d e l ) .

How: T h e m o d e l w i l l p h y s i c a l l y r e p r e s e n t y o u r i m a g i n e d r o o m a s

t i m e a n d s p a c e .

T H E M E C H A N I S M :

T A B L A G R A M

T H E U N I T F I N A L P R O D U C T :

C L O C K W O R K L O N D O N

T H E Q U A D R A N T :

C R O N O T O P OT A B L E A U + D I A G R A M T I M E + S P A C E

B U I L D I N G T H E C L O C K ’ S M E C H A N I S M A N D I T S

Q U A D R A N T .Clockwork London w i l l r e p l a c e t h e 1 2 h o u r s o f t h e q u a d r a n t w i t h 1 2 i c o n i c L o n d o n

r o o m s , e a c h a c t i v a t e d a t o p p o s i n g t i m e s ( e x : 1 0 a m & 1 0 p m ) . W o r k i n g i n g r o u p s o f t w o , y o u w i l l b e i n c h a r g e o f o n e r o o m .

D u r i n g a t h r e e - w e e k p e r i o d , w e w i l l c o l l e c t i v e l y w o r k t o w a r d s a c o m m o n g o a l : a n e w k i n d o f c l o c k . A l l y o u r i n d i v i d u a l w o r k w i l l b e i n s e p a r a b l e f r o m t h e r e s t o f

t h e u n i t a n d w i l l r e a c h i t s f u l l p o t e n t i a l o n c e p l a c e d w i t h i n t h e l a r g e C l o c k w o r k L o n d o n .

Unit 1’s

ANTOINE VAXELAIREBrussels, BE

Antoine first studied architecture in Lausanne before moving to London to join the Architectural Association, where he graduated with Honours in 2013. During his studies he has worked in several offices in Zurich, London and Brussels.

After graduating Antoine moved to Tokyo, where he worked two years. He now lives and works in Mexico City.

DEREK DELLEKAMPMexico City, MX

Derek founded Dellekamp Arquitectos in 1999, in Mexico City.

Derek received the Architectural League’s Emerging Voices award in 2009, NYC.

His work has been exhibited in major institutions such Centre Pompidou and the Venice Biennial.

Derek has been an invited to teach in many universities, such as Rice and University of Texas.

ARIADNA BARTHEBarcelona, ES

After graduating from Interior Design in 2009 (EINA), Ariadna as worked as a Production Designer

for CANADA, Nanouk, Mosaic and Escandalo Films. In 2009, Ariadna joined the AA School, where she

graduated in 2014.

Since then she works for Foster and Partners, currently living and

working in Mexico City. Her interests have been always

oscillating between the film industry and the architectural world.

FRIDA ESCOBEDOMexico City, MX

Frida has a bachelor degree in Architecture from University

Iberoamerica and a masters degree in Arts, Design and the Public

Domain from Harvard GSD.

For four years she taught 2nd year studio in Iberoamerica.

Last fall, she was a visiting professor at Columbia GSAPP, and last spring

in Harvard GSD.

Frida founded her architecture studio in Mexico City.

ORIGIN > late 20th century: mix of English smart and English stupid*SMUPIDITY

AA Summer School4-22 July 2016

Unit 1Clockwork London

S C H E D U L E

Introduction+UnitPresentations

UNITKICK-OFFSecret Location

INTERMEDIATE JURY

FINALJURY

INTERMEDIATE JURY

FINALJURY

MasterClass 1TABLAGRAM

Unit GuestEleanor Dodmanon T. Demand.

Unit Visit 2BBC Archive

Unit Visit 1Pinewood Studios

TutorialsUnit Space

TutorialsUnit Space

TutorialsUnit Space

TutorialsUnit Space

TutorialsUnit Space

Work Session

Work Session

Work Session

Pre-JuryRehearsal

Pre-JuryRehearsal

Post-JuryDiscussion

Unit Dinner

Unit Dinner @St John’s Bakery

Drinks @ FrenchHouse

Work Session

Work Session

Work Session Work SessionWork Session

Work Session

Work Session

Enjoy London

Enjoy London

Enjoy London

Enjoy London

Enjoy LondonEnjoy London

Enjoy London

TutorialsUnit Space

TutorialsUnit Space

TutorialsUnit Space

MasterClass 2TABLAGRAM

MasterClass 3CRONOTOPO

Unit DrinksAA CinemaClockwork Orange

GIFTMarathon Visitsaround London.

Unit Selections+1st Unit Meeting

Drinks! Unit Space Introduction

Party!

End Party!

W E E K 0 1Monday

10:00

10:00

10:00

14:00

14:00

14:00

20:00

20:00

20:00

Monday

Monday

Tuesday

Tuesday

Tuesday

Wednesday

Wednesday

Wednesday

Thursday

Thursday

Thursday

Friday

Friday

Friday

Saturday

Saturday

Saturday

Sunday

Sunday

Sunday

W E E K 0 2

W E E K 0 3

W H E N W E W I L L D O W H A T :

UNIT 2

Arantza Ozaeta and Alvaro Martin

AA SUMMER SCHOOL 2016 LONDON-TIME

! !

SUBLIME OASIS IN-TRANSIT

This Unit proposes a brave appropriation of London Green Continuum [1]

as a potential habitat for contemporary and connective migrant citizens [2] i

SCENARIO i!!!

SUBLIME OASIS A site that exists only with reference to time !

The city of London can be considered as the world’s largest urban forest with 8 millions of trees. More than 13.000 species -including humans-, inhabit 3.000

parks, 30.000 allotments, 3 million of gardens and 2 National Nature Reserves. Green space in Central London covers 47% of its area. It includes 8 Royal Parks, a

large number of council-owned parks, many small garden squares (100 only in Kensington and Chelsea), and greenways such as Thames Path.

A wide variety of wildlife inhabits London because it contains a great mixture of different ecological conditions. Foxes inhabit the city since the 40s, and today

there are more than 10.000. We can find squirrels and badgers in garden squares and backyards; deer on city outskirts; Otters in wasteland areas and canals;

pigeons, gulls and peregrine falcons flying over the city. Tall buildings, abundant food sources and a lack of predators make London a natural habitat for many

birds and animalsii.

It is heartbreaking, if not obscene to have to imagine here, a city (Rem Koolhaas, SMLXL, 1995)

London is known as a green city. Its urban fabric includes a powerful network of green spaces that coexists together with the built landscape.

Parks, woodlands, wetlands, gardens, groves, brownfield sites, and other semi-natural habitats and areas reclaimed by nature. We will act in

these -apparently untouchable and overprotected- urban environments. We are interested in the double condition -manufactured and natural- of

these environments with its own cycles of generation and decay. We will focus on the ecological interest of these urban sites, specially those

areas of interaction among -human and no human- ecosystems (ecotones) where intensity of components is maximum.

'Nature' is simply another 18th and 19th century fiction (Robert Smithson, 1968)

We understand ‘nature’ as a product, a projection of humanity. Therefore, since it is a design, it can be manipulated and changed, and by

establishing new strategic relationships with this reality of London, we will build up new protocols of design. Processes defined through diverse

time scales and whose management recognises change as inevitable. We pursue a migration of concepts and techniques from Environmental

Sciences, because they give consistent responses within a context simultaneously natural and artificialiii. So, we will talk about Architecture in

terms of dynamic understanding of elements, growth models, entropy, lifespan, methods of ecological control, dynamics of occupation and

levels of integration.

SCENARIO II!!!

LONDONERS IN-TRANSIT A population that exists only with reference to time!

Sony's Walkman planted the notion that music can be mobile. The BlackBerry made e-mail on the go seems normal since 1999. The personal-computer era

started in the 1980s with Apple's commercialisation of the “graphical user interface” and the mobile era exploded in 2007 whit the iPhone and its user-friendly

touch interface. Today, Cloud computing, that provides shared processing resources and data on demand, becomes a super-intensive and hyper-connected

system that is used by 80% of world’s population.

Surfers stays in the same (summer) place by moving in sequence with climatic progression, in order to stay in the same temperature year round (an endless

summer). Offshore havens facilitate a new form of cartographical expertise to locate funds in legal subsidiaries by an ingenious planning of migration routes for

funds. Retirees, workers tied to seasonal tourism or people suffering from seasonal affective disorder avoid cold temperatures of northern winter and invade

Mediterranean Area. Avoiding citizenship, Perpetual Travellers pass through different countries fast enough that they don’t become legal resident status so no

have legal obligations.

There is nothing like a dream to create the future (Victor Hugo, Les Miserables, 1862)

A new social creature emerges from this global and increasily mobile world.

With the scale, the accessibility and the immediacy of contemporary global displacements, we have developed a more “liquid”iv relationship with

places and people. We live in constant flux and we inhabit a global flow. Our identity is not defined through an own place or an own stuff, but we

live on the go and we have fewer belongings and more sharing. Our relationship to time, to place and to other people is different. Environment

provides us with what we need, and no matter where we are we can create our own “emotional space” without any place restrictionv.

Even the most striated city gives rise to smooth spaces: to live in the city as a nomad, or as a cave dweller (G. Deleuze & F. Guattari, 1987)

London is constantly reshaped by new waves and changing tides of human migrants. The city is a valuable pit-stop for this rolling citizensvi that

re-shape culture because of its mobility.

We will track these mobile populations moving among settled populations. They have been called nomads, migrants, travellers, neo-Bedouins,

etc. but we will update this concept in terms of current (hyper)connectivity. They are “Londoners In-transit” -such as Snowbirds, Digital nomads,

Urban Campers, Expatriates, Third Culture Kids, Techno-Bedouins or Perpetual Travellers. As Geographers, Ethnographers and Strategists, we

will unveil their “transit space” vii

, in terms of both time and place; as Anthropologists and Cultural Practitioners, we will identify their policies and

identities; and finally will develop new spatial models according to their mobile culture –from urbanity to domesticity-.

1!

[1] Sublime Oasis ! Londoners in-transit

[2] !

AA SUMMER SCHOOL 2016 LONDON-TIME

! !

METHODOLOGY

ACCUMULATIVE CONTINUUM cabinet of wonders During the course, we will consider 2 scenarios in London: overprotected Oasis & Londoners In-transit / a potential site & an elusive inhabitant. As creative explorers, we will collect evidence of these realities. Everything becomes data –documents, numbers, graphics, interviews, maps, images, objects, artefacts about climatology, history, politics, economics, art, technique, etc. Day by day, we will build up our CABINET OF WONDERS: an encyclopaedic collection of (extraordinary) objects that attempt to tell stories about the wonders and oddities of the (selected) world, of our Unit Microcosms. This is both an operative and accumulative tool, an ideological as well as technical construction. We will define it by an overlap of successive statesviii, and we will adopt an expertise role and use a different narrative tool per state.

SPECULATIVE CONTINUUM WALLPAPER OF REAL FANTASIES Londoners in-transit will colonize Sublime Oasis: this is our dual scenario for specula(C)tion and here we start our game of reciproCITIES, in the way Sophie Calle and Paul Auster did with the character of Maria Turner in the book “Double Game”. By using the collected documents and objects, together with certain fictional evidence, we will build up a succession of projective moments that will be arranged in a continuous and common WALLPAPER: a visual masterpiece between the fictional and the distilled real fragments of our cabinets, an artificial landscape where fiction and collection collideix. Horizon and scale are multiple, manipulating frame and disrupting linear sequence. !

Narrative continuum SEQUENCE SHOT of INTERACTIVE DOCUMENTARY This Wallpaper will be considered a performative space, sensitive and reactive. And we will explore its narrative potential by turning into an INTERACTIVE DOCUMENTARY: an interface that provides an in-depth tour through our “Sublime Oasis in-transit”, including texts, images even videos to enrich the storytelling. We will establish a sistematical and interconnective articulation of those projective and architectural moments, pursuing that hypermedia transgresses the logical boundaries of physical space/time/frame. This will be our collective construction of the “Sublime Oasis In-transit”, in the way of a complex system of individual events that are infrastructurally assembled. Finally, we will film one of the possible journeys in an uninterrupted shot of 10 minutes that constitutes an entire scene –SEQUENCE SHOT.

REFS: OLDEMAN Profile of a Forest/ GREENE Gardener’s Notebook/ REISER+UMEMOTO Global migration patterns of Surfers/ HAMILTON Just What Is It That Makes Today's Homes so Different, So Appealing?/ HAUS RUCKER Oasis nº7/ WUNDERKAMMER Ferrante Imperato/ DUCHAMP Box in Valise/ OMA-AMO Prada Wallpapers/ EAMES OFFICE: Moscow International Exposition 1959.

Schedule

1st

week SUBLIME OASIS We will track those apparently untouchable and overprotected green spaces of London. We will unveal their botanical variety, climatic condictions, growth models, human and no-human inhabitants, patterns of occupation, cycles of generation and decay. TAGS: OASIS - GARDEN - WILDLIFE - ECOLOGY - ECOTONE - NATURE/FICTION - NEW NATURALNESS - HUMANS&NO HUMANS - GARDENER EXPERIENCES & VISITS + EXPEDITION ‘GREEN LONDON’: we will explore and experience a green and wild city by visiting semi-natural habitats, such as The Royal Botanical Garden Kew, Thames Path, Serpentine Park and Pavillion, garden squares, community allotments and the Barbican Conservatory. + WILDLIFE GARDEN and CENTRE OF UK BIODIVERSITY, at Natural History Museum, with more than 2.600 species of British flora and fauna. + THE GREATER LONDON NATIONAL PARK CITY: through this campaign we will understand London as the world's first National Park City. We will be explorers at the way of Daniel Raven-Ellison, and will follow research about the capital's wildlife and wild spaces by London Wildlife Trust.

2nd

week LONDONERS IN-TRANSIT We wil discover the new creatures that inhabit this mobile world: Londoners in-transit. We will trace their migration routes (in place and time) and habits. We will collect the wonders and oddities of their migrant culture, the successive architectures that they inhabit, and the protocols of construction of their ‘emotional’ space here and there. TAGS: MIGRANTS - NOMADS - PERIPATETIC - ROLLING - PITSTOP - FLOW - STOCK - WANDERLUST - MOBILITY - TRANSIT SPACE - LIQUID EXPERIENCES & VISITS + SIR JOHN SOANE’S MUSEUM: visit to this surprising ‘cabinet of curiosities’ in London. The historic house, museum and library of distinguished 19th century architect Sir John Soane, filled with his exceptional collection -artworks, sculptures, furniture and artefacts. + MARGARET CUBBAGE & GONZALO HERRERO DELICADO: Curators at Design Museum’s exhibitions department. They will show its Designers in Residence programme “Migration 2015”: a reflection of objects or processes that imply movement of shifting and cross-fertilising cultures. + IGNACIO GONZÁLEZ-GALÁN: Chief Curator of 2016 Oslo Architecture Triennale. He will introduce “After Belonging”, a transforming condition of belonging that examines both our attachment to places and collectivities as well as our relation to the objects we own, share, and exchange.

3rd

week REAL FANTASIES The ‘natural’ sites of London are available, and Londoners in-transit will colonize them. They will expand their migration routes through/into them, and include this spaces into their selection of pit-stops. We propose a migration of dynamics, protocols and spacial models from the built to the ‘natural’ environment of London. TAGS: REAL FANTASIES – FICTIONALIZATION – INTERACTIVE DOCUMENTARY – STORYTELLING –SEQUENCE SHOT – HYPERMEDIA - HYPERLONDON EXPERIENCES & VISITS + JEFFREY LUDLOW: Creative director of 2x4 Madrid. He will explain the design sytem –brand, experience and identity- of their Wallpaper concept for the Prada Broadway Epicenter store –“Trembled Blossoms”-, as part of the project 2016 SS Prada Real Fantasies by OMA/AMO. + DIEGO IGLESIAS & CRISTOBAL BAÑOS: Architect and web designer, authors of “HyperTokio”. Together with them we will build up “HyperLondon”, a virtual space of connected images, texts, diagrams and videos, in the way of an interactive documentary. !TO FINISH, AA SUMMER SCHOOL IS CORDIALLY INVITED TO THE PREMIERE OF OUR INTERACTIVE DOCUMENTARY: “sublime oasis IN-TRANSIT”

AA SUMMER SCHOOL 2016 LONDON-TIME

! !

UNIT STAFF

TALLERDE2 ARANTZA & ALVARO

Arantza Ozaeta and Alvaro Martin head the architecture office TallerDE2 since 2008 [ www.tallerde2.com ], which makes an ongoing commitment to research and knowledge, both in training and innovative practice. They do research on contemporary cultures pursuing the materialization of unsual discoveries. Their work has international scope, been recognized, published and awarded on several occasions.

Arantza Ozaeta and Alvaro Martín’s work is mainly developed between Spain, Germany, Italy and UK, where they combine professional activities with academic and research ones. They studied architecture at the TU Delft of The Netherlands and at the Madrid Polytechnic ETSAM. They have been teaching at the Architectural Association London (Summer School 2015 / 2014 / 2013), Politecnico di Milano (Italy), Hochschule Coburg University of Applied Sciences (Germany), FCU (Taiwan), Ural State Technical University of Ekaterimburg (Russia), and the Architectural Polytechnic University of Madrid (Spain), where currently teach as Associate Professor.

Arantza Ozaeta and Alvaro Martín completed work covers from Urban Regeneration Masterplans (Europan 9, Germany) to Public Facilities (Haus der Tagesmütter, Selb); from Ephemeral Urban Installations (Green Cave, Bilbao) to Domestic Spaces (The Meeting House, Zamora), from Industrial Architecture (ITV-Motto, La Rioja) to Refurbishment with Furniture Infill (The POP-UP House, Madrid). Among their awards, they have received the German ‘Bauwelt Prize 2013-First Works’; Finalists at the ‘XII Spanish Architecture and Urbanism Biennale 2013’; the prize ‘Architects Professional Association of Madrid-Luis M. Mansilla’ as the Best foreign project made by a Spanish office abroad. In 2015 their work has been selected for ‘Architectus Omnibus-Goethe Institute & Casa Cervantes’ to be exhibited in Berlin, and for ‘Export-Spanish Architecture Abroad’ in Madrid. The Spanish magazine ‘Arquitectura Viva’ has selected them as "one of the eight most representative young Spanish studios", and director Arantza Ozaeta was shorlisted “Emerging woman of the year 2014” from the British magazine AJ.

HAUS DER TAGESMUTTER: Urban Acupuncture. Germany 2013/ YOUTH CENTER: Social Club. Germany 2015/ AASS 2013: Inverse London/ GREEN CAVE: Temporary Urban Garden. Bilbao 2011/ THE POP-UP HOUSE: Residence for a Metropolitan Single. Madrid 2014/ AASS 2014: Mind the Gap!/ ITV-MOTTO La Rioja 2016/ IQ SOCIAL HOUSING: Germany 2016/ AASS 2015: Ordinary EccentriCITY.

INVITED GUESTS

Daniel Raven-Ellison is a London based guerrilla geographer, creative explorer, educator and works leading the campaign to establish London as the world's first National Park City. He is one of National Geographic’s Emerging Explorers [ www.ravenellison.com ]

Margaret Cubbage is a curator at the Design Museum in London, in charge of the programme Designers in Residence (2008-2011), colleague of Gonzalo Herrero Delicado, a London-based architect and writer of contemporary architecture and design. Since 2015, he is Curator at Design

Museum, preparing together with Chief Curator Justin McGuirk the exhibition that will open the new museum in 2016 [ www.gonzaloherrero.eu ].

Ignacio G. Galan is a New York based architect and a PhD Candidate at Princeton University. Professor in Columbia University and Chief Curator of the 2016 Oslo Architecture Triennale “After Belonging”. Collaborator in the research project ‘Radical Pedagogies’, led by Beatriz Colomina at Princeton SOA [ www.ignaciogalan.com ]

Jeffrey Ludlow is Principal and Creative Director of the global design consultancy 2x4 in Madrid. The focus of their work is!brand strategy for cultural and commercial clients who value the power of design. Their wide range of clients includes OMA/AMO, Herzog & de Meuron, Kanye West, MoMA, Prada, Nike, and the Doha Film Institute [ www.2x4.org ]

Cristóbal Baños is a Madrid-based graphic and web designer. Creative Director of the fashion communication agency Coolture Lab and co-creator of HYPER TOKYO [www.hypertokyo.net] together with Diego Iglesias, a Madrid-based architect, communication designer, editor [255.255.255] and cultural manager. Member of the Architectural Association for Innovative Pedagogies 100x10 and guest teacher at ETSAM.

XREFS

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!i Front-page image: The Garden of Earthly Delights triptych painted by Hieronymus BOSCH, oil on oak panels, 220 cm × 389 cm (87 in × 153 in), Museo del Prado, Madrid. ii “47 per cent of London is green space: Is it time for our capital to become a national park?” Daniel Raven-Ellison, Independent website. September 2014/ “Urban Wildlife: when animals go wild in the city”, Adam Vaughan, The Guardian website. March 2008/ Atlas of Novel Tectonics, Reiser + Umemoto, Princeton Arch. Press 2006. iii Iñaki ÁBALOS. Naturaleza y Artificio. El ideal Pintoresco en la Arquitectura y el Paisajismo Contemporáneos, Gustavo Gili, Barcelona, 2009. iv Zygmunt BAUMAN. Liquid Modernity, Polity Press, Cambridge, 2000. Text: “Individual and society in the liquid modernity” by Emma Palese. v Widianto UTOMO. Urban Nomads. A lifestyle transformation from passive to fully mobile integrated being, 2002. vi Notion of Rolling Society/City proposed by Andrés Jaque in the project “Rolling House For The Rolling Society” [www.andresjaque.net]!vii Notion of “Transit” proposed by Widianto Utomo: referred to changes, uncertainties and insecurities, flexibility and mobility, transnational and familiar identities are superimposed on. viii “Plan and Section”, Federico Soriano. In SORIANO, Federico: 100 Hypermínimos. Escritos de Arquitectura Lampreave, Madrid, 2009. ix OMA/AMO 2016 SS Prada Real Fantasies. Project description [www.oma.eu]!

BOOKS & ARTICLES

+ ÁBALOS, Iñaki. “Naturaleza y Artificio”, GG, 2009.!+ BAUMAN, Zygmunt. “Liquid Modernity”. Polity, 2000. + CALLE, Sophie and AUSTER, Paul. “Double Game”. Violette, 1999. + EASTERLING, Keller. “Extrastatecraft: the power of infrastructure space”. Verso, 2014. + FONTCUBERTA, Joan. “The Kiss of Judas. Photography and truth”. GG, Barcelona, 1997. + JAQUE, Andres. “Eco-Ordinary”. UEM, 2010. + KINGMANN, Anna. “Brandscapes: Architecture in the experience of economy”. MIT Press, 2007.

!

!

+ LONDON WILD TRUST & GIGL research: “Wild Spaces”, by Gemma Hallam and Mathew Frith; “London Garden City?”, by Chloë Smith 2010; “For a Wilder City”, 2015-2020. + MAKIMOTO Tsugio, MANNERS David. “Digital Nomad”. Wiley, 1997. + MCLUHAN, Marshall; FIORE, Quentin; “The Medium is the Massage: an inventory of effects”. Bantam books, 1967. + OMA; Harvard GSD. “Project on the City 1”, “Project on the City 2”. Taschen, 2002.

!

FILMS & DOCUMENTARIES

+ BALLESTER, Jose Manuel. “Hidden Spaces”, 2008. + EAMES OFFICE. Multiscreen & Multimedia: “Glimpses of the U.S.”, 1959; “THINK”, 1964. + GREY LONDON. Spot “The Sundays Time Icons” 2014. + RYBCZYNSKI, Zbigniew. “Tango”. Poland 1980. + SOKÚROV Aleksandr. “Russian Ark”. 2002. + VAN HUIJSTEE, Pieter: “Jheronimus Bosch, The Garden of Earthly Delights” Interactive Documentary.!+ VINE CAMPAIGNS: Airbnb, Samsung, Sony, M&C Saatchi Sydney, Adidas, Disney, Volkswagen, etc.!

!

3!

UNIT 3

Aphrodite Stathopoulou and Melanie Wavamunno

{2016 LondonTIME - AA Summer School}

{Aphrodite Stathopoulou}{Melanie Wavamunno}

F I L M S C A P E S

R E F L E C T I O N S

O N L O N D O N ’ S

E A S T

E N D

{Unit 3}

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The city can be conceived as an archive of a place’s history. Most importantly, as an accumulation of time and space it can be understood and represented as narrative. Much like literature, film, poetry and any form of storytelling, the city can be perceived not only as a process of development, planning and occupation of space, but also as a dialectic interplay between body and place; a form of communication. While the body navigates physical space, mental processes help construe associations, create and link memories and assumptions in ways that can distort physical constraints such as scale, spatial sequences or adjacencies. Under this scope, cities as ideological reflections can in many ways escape, reinterpret and ultimately affect /design reality.

London has been transformed over time into an abstract space, which from the 19th century onwards has served as a site that encompasses diverse forms of urban life; working-class restlessness, modernity, immigration, rationality, unitary interests and top-down development. In particular, London’s East End has been a field where these opposing forces have had a significant imprint to the urban fabric, resulting in temporal and contextual disparities.

The East End of London is situated to the east of the Roman and medieval walled City of London - bounded by the Victoria Park to its north, the River Thames to its South and the River Lea to its east. The collective perception of the East End has evolved radically from a stigmatized place of debilitating poverty, disorder and crime, to a celebrated place of mystery, creativity and youthful urbanity. The East End’s varied and distinctive urban fabric is owed largely to its formative history as the 19th Century industrial heart of London, absorbing waves of immigrants and skilled workers. Subsequent slum clearance programmes, targeted bombings of industrial sites during the Second World War and recent urban regeneration plans that include the Canary Warf development and the Olympic Park have shaped the current built landscape of the area.

With the East End as our site, the unit will approach the understanding of the city under three given urban topics that will serve as lenses through which students will be asked to reveal their spatial environment:

1. Mobility: roadways, public transportation, freight rail, bicycle paths, pedestrian routes2. Open Space Systems: parks, riverfront, plazas, natural systems3. Development Patterns: street and block morphology, heights, building types, uses

The objective is to develop an enriched reading of the ever-changing city. We will employ on site research, photography, mapping, and collage - all leading up to the studio’s final product: a short (two minute) stop-motion film; a collage in time, which will in itself serve as a mental-archive of London’s East End, focusing on a team-determined subject under the assigned lens.

In addition to readings, discussions and multi-disciplinary representation of the urban development of London’s East End, the unit - structured as a combined studio/seminar - will inquire into how visual representation and narrative figuration contribute to construct urban identity. Theoretical subjects to be explored in relevant weekly film-screenings and texts include: panoramic vision, collage & urban flânerie, modernity, and montage.

Utilizing smart-phone photography and video production software in a post-modern technological society, part of the unit’s dialectic will delve into questions of traditional authorship as a means of interpretation and creativity. Throughout the course of the three weeks, student work will be regularly catalogued, documented and published in a designated blog, encouraging its exposure, interaction and feedback from the wider public.

Unit 3: Brief

Tutors:Aphrodite Stathopoulou: staphrod@gmail.com Melanie Wavamunno: mwavamunno@gmail.com

Prerequisite: No Prerequisites

Filmscapes : Reflections on London’s East End fig.1: ‘View between Billingsgate Dock & the Tower of London’, Boitard ,1757

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Instructional Methodology

The course is structured as a combined seminar/studio.

Students are expected to both develop and exercise technical skills within the studio environment and respective reviews and to articulate, discuss and criticize theoretical concepts; participating in weekly lectures and relevant screenings.

Besides on site research and analysis and related readings, theoretical aspects of film will be presented and discussed, which will serve as basis for critical studies, research and studio exercises. Besides internal studio discussions we have arranged a few visiting lectures on film and mapping throught the course.

There will be two projects for the unit:

First, a collage illustrative of an individually student-chosen theme under an assigned lens, accompanied by a collective studio mapping of students’ trajectories and meeting or interest points in London’s East End, as tracked by a GPS application.

Second, a short stop-motion film - a collage in time - which will elaborate further on the topic previously illustrated. Studio Material will be regularly compiled documented and collectively posted on an online platform, encouraging its exposure and communication toward a wider audience.

Week One (04.07.16 - 08.07.16): SITE RESEARCH

Theoretical Framework (Readings / Lectures / Discussions): Modern Visual Culture: Panoramic Vision, Collage and Urban FlânerieIntroductory Lecture : Urban Development of London’s East End Introductory Lecture : Modern Visual Culture - Panoramic Vision & Collage

- We will be having a Collective Unit Site Visit and Analysis- We will be regularly visiting the Computer Lab for Photoshop Instructorship- We will meet daily in Studio for Studio Critiques

Week Two (11.07.16 - 15.07.16): COLLAGE & MAPPING STUDIES

*Interim Studio Review: Individual Collage & Collective Studio Mapping (Trajectories & Interest-points)

Theoretical Framework (Readings / Lectures / Discussions): Modernity

-Student Teams Will conduct Field Work-Photoshop & After-Effects Instructorship-Studio Critiques - Student selection of short-motion film topic under given lens

Week Three (18.07.16 - 22.07.16): STOP-MOTION FILM STUDIESTheoretical Framework (related readings / Lectures / Discussions): Montage

-Independent Student Field Work-After-Effects Instructorship-Studio Critiques

*Final Studio Review: Stop Motion Film / Archiving of Work / Blog Preview

fig.2: Architecture-Event & Action: The Manhattan Transcripts’, Tschumi 1976-1981Unit 3: Schedule and Structure

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Apart from site-visits, relevant lectures and readings on London’s East End the unit will map out three broader theoretical frameworks/subjects which will serve us underlying theoretical knowledge, as a supplementary context to studio-based exercises.

Lectures, readings and screenings will be structured accordingly, to be mapped out in their designated weeks.Complementary to collective studio presence and work, reading and attendance of all lectures and screenings are obligatory.

*Summer Movie Nights: Screenings will be taking place biweekly at the AA roof terrace

04.07 PANORAMIC VISION, COLLAGE & URBAN FLANERIE

Bibliography:

1. Paul Newland, “The Cultural Construction of London’s East End: Urban Iconography, Modernity and the Spatialisation of Englishness” Introduction and excerpts, 20082. Walter Benjamin, “Some motifs on Baudelaire” Illuminations 19683. James Corner, “The Agency of Mapping: Speculation, Critique and Invention,”19994. Bruno Latour, “Reassembling the Social - An Introduction to Actor-Network Theory”, Oxford University Press, 2005, “Panoramas” p.183-189

Filmography:

1. Lumiere Brothers, “The Arrival of a Train”, 18952. Thomas Edison and Edwin Porter, “A Romance of the Rail, 19033. Rene Clair, “Paris qui Dort”, 19234. Laszlo Moholy-Nagy, “Marseille View Port,” 1929

11.07 MODERNITY

Bibliography:

1. Georg Simmel, “The Metropolis and Mental Life” in Rethinking Architecture, 1997

Filmography:

1. Fritz Lang, “Metropolis”, 19262. Charles Crighton, “Hue and Cry”, 1947

18.07 MONTAGE

Bibliography:

1. Sergei Eisenstein, “A Geography of the Moving Image,”in Montage and Architecture, 19892. Dziga Vertov, “Kino-Eye, The writings of Dziga Vertov,” 19843. Giuliana Bruno, “Fabrics of Light: On the Surface of Film and Architecture,” 2014

Filmography:

1. Dziga Vertov, “Man with a movie Camera”, 19292. David Cronenberg, “Spider”, 2002

Unit 3: Bibliography & Filmography

fig.3: ‘London from St Paul’s Cathedral’ , Camera obscura, 1845

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Aphrodite Stathopoulou is an architect and urban designer currently working at the Basel based practice, Harry Gugger Studio. She holds a MArch from National Technical University of Athens, Greece and a Master of Architecture in Urban Design with Distinction from Harvard University’s Graduate School of Design. Throughout her studies, she has been awarded the Harvard Grant, the Gerondelis Foundation Scholarship, and the GRE AT 2013 award.

Aphrodite has worked on urban, civic and residential projects and has participated in award-winning competitions in Athens, Boston and Basel. As part of Harry Gugger Studio, her work includes urban studies and competitions as project leader.

Aphrodite has taught an introductory Urban Design studio at the Harvard Graduate School of Design Career Discovery program. In addition, she has lectured and participated in jury panels in institutions such as the Boston Architectural College and the Rhode Island School of Design. Aphrodite’s work has been featured in several publications & exhibitions in Athens and Boston, including the Harvard GSD Platform publication and exhibition 2013 and 2014.

Her academic research, focuses around the themes of cartography and the historic city, emphasizing ideas of collective memory, perception and experience of a place. She frequently experiments with various forms of representation including, mixed media, film and collage. Throughout her work, she has been focusing on the process of systemic thinking, aiming for coherent design narratives that have a wider cognitive or educational impact and she is committed to combining these efforts into her teaching.

Unit 3: Staff - Short Bios

As a practicing Part II Architect, Melanie Wavamunno currently works at the London based practice, Adjaye Associates. Melanie has worked on completed projects in Uganda and Lebanon, and has ongoing work in the cities of London, Johannesburg, Los Angeles and Munich. Her projects range in scale and typology from small residences to large public museums. Melanie has an AA certficate and holds Bachelors degrees in Fine Arts and Architecture (BFA and BArch) from Rhode Island School of Design, as well as a Master’s of Architecture in Urban Design from Harvard University’s Graduate School of Design and a certificate from the AA. In 2014, Melanie was one of two students selected for Harvard Art Museum’s Division of Academic and Public Programs’ highly competitive annual graduate internship programme. There, she developed interpretive materials for the 2014 Renzo Piano Harvard Art Museum extension.

During her time at RISD, Melanie engaged with her interests in form, material and the representation of space by developing a variety of visual experiments in film, photography and printmaking.These were exhibited in the Granoff Gallery at Brown University and the Bayard Ewing Building at RISD. Melanie was also a teaching assistant under RISD Professor James Barnes and has participated on jury panels at RISD and Harvard University GSD’s Career Discovery.

In practice, as in teaching, Melanie enjoys the critical discourse that emerges out of design saturated in culture and difference, in theory and physicality. There are meaningful discoveries and revelations to be made in mistakes, in awkwardness and misalignment, in bodily experience, in appropriation, in mistranslation, in getting lost. The profession of architecture allows us the means to enter other cultures intensely and playfully, but also responsibly.

UNIT 4

Ana Marti-Baron and Clement Blanchet

L O N D O N (TEASING) T I M E“The truth can only be seen when you close your eyes to reason and surrender yourself to dreams.”

André Breton

Tutors:Ana Marti-Baron

Clément Blanchet

2016 AA SUMMER SCHOOL LONDON-TIME

BRIEF

“The imaginary is what tends to become real.” André Breton

Every year, hundreds of thousands of tourists from all over the world descend on the Royal Observatory in Greenwich to pose for a photograph astride the Prime Meridian, the famous line where east meets west and where each day, year, millennium begins. The location of the original Greenwich Meridian was agreed upon at a meeting in Washington DC in 1884, after a vote involving 25 nations. Creating a universally recognized position of 0 degrees longitude allowed accurate global navigation, standardized maps and the creation of time zones.

There is just one problem: according to modern GPS systems, the line actually lies more than 100 meters to the east, cutting across a nondescript footpath in Greenwich Park near a litter bin.

The unit will expand the Greenwich Meridian into the third and the fourth dimension in order to emerge a new territory to invent, speculate and design new worlds. We will design a fragment of London that goes backwards and forwards through time. We will learn to design for a time-span, not just a single moment.

We will reconsider the new territory of the Greenwich Meridian as our primary laboratory for ideas and actions

How can a line expand to the third and fourth dimension and become an architectural moment? How to design for a time-span? How to imagine a city as though experienced along its continuum? How to keep the form and the culture of the city in this new fragment of London? How does this neo Decumanus engage with the existing city? We will propose the sets for a new Game: a game engaging the past and the future.

The reasons or criteria’s to invent this new piece of London should be constructed based on different themes, either could they be subjective and objective. We will define our own context with absolute conceptual innocence. As Piranesi did in his plan of Rome in 1761, we will span and overlap our new world as the product of a free run of imagination.

In order to explore all the possibilities of this new fragment of London we will use the Surrealist technique of the Exquisite Corpse. The Exquisite Corpse (from the French original term Cadavre Exquis) is a game invent by the Surrealists in 1925 to free the mind by which a collection of words or images is collectively assembled. Each collaborator adds to a composition in sequence, by following a rule and by being allowed to see only the end of what the previous persons contributed. According to André Breton, one of the major figures of the Surrealism group, it started as a fun activity: “Although, for defense reasons, sometimes this activity was called by us ‘experimental’, we wanted it above all entertainment. What we were able to discover rewarding to in respect of knowledge, just came later.”

AA SUMMER SCHOOL 2016 LONDON-TIME

LONDON ( T E A S I N G ) TIME1 / 3

OUT PUT

Students will work as a group to achieve consistency across the work. Graphic styles and techniques in all the research and design phases will be carefully set out by the group in order to achieve this. Digital tools will be introduced but the focus will be on working with hand made techniques as big drawings, collages, and model making.

The construction of a big scale artifact of the new Greenwich Meridian territory will be the masterpiece of the unit. This artifact will be a three-dimensional art attempt to represent a timeless fragment of the city of London. It will have to represent the instable past, present and future of London. This piece will act as manifesto. Each student could carry home its masterpieces of the cadavre-exquis.)

SCHEDULE

Students will work individually, in pairs and as a group.

The unit will envision architecture as a way of thinking. We will investigate mechanism of participation, action and discussion as major tools to generate spatial and urban processes. The methodology will be a constant critical point of view: a continuous debate and discussion where nothing is granted. Exploration will be part of the process. Discussion and exchange about the work in progress will be an important part of the daily overall structure of the unit.

Every week an external visitor will come to the studio and share his or her expertise according to the common issues. We wish to invite Madelon Vriesendorp and other special guests to share our visions and discoveries about our new Greenwich Meridian territory.

WEEK 1“The truth can only be seen when…

Introductions and Presentations / One day visit along the London Greenwich Meridian site / Everyday will start with a group discussion about the work in progress / London’s historical research / Each pair of students will explore a specific time frame of London and how its form and culture could be translated / Define the Greenwich Meridian new territory and its context. Document 1: Students will work in pairs. Every pair will produce a big scale collage with its layer information. The unit will produce a common informed “Musée Imaginaire” containing the illustrated statements and promises that will define the new Greenwich Meridian territory.

WEEK 2… you close your eyes to reason and …

Urban and architectural research / Discuss and explore the form and the culture of this new territory / Define the rules of this new territory / Design and invent new worlds. Document 2: Students will work individually. Each student will produce a big scale drawing to be inserted in the Greenwich Meridian new territory. Each student will also pro-duce a booklet containing all the research and the outcome documents including plans, diagrams, sketches, texts, collages, models, etc.

WEEK 3… surrender yourself to dreams.”

Define the character and the substance of the artifact to be produced / Define all the techniques and graphic styles / Design the artifact / Define and organize the work to achieve / Construct the artifact as a tridimensional experiment compiling a before, a now and an after. Document 3: Students will work as a group. The group will produce a big scale artifact containing the research and projects of the last two weeks.

AA SUMMER SCHOOL 2016 LONDON-TIME

LONDON ( T E A S I N G ) TIME2 / 3

BIBLIOGRAPHY

Flatland: A romance of many dimensions, Edwin A. Abbot. Ed: Princeton Science library / Invisible Cities, Italo Calvino. Ed: Vintage Classics / The City in the city, Oswald Mathias Ungers. Ed: Lars Muller Publishers / London Exodus S M L XL, OMA. Ed: The Monacelli Press / Morphologie City Metaphors, O.M. Ungers. Ed. Verlag der Buchhandlung / The city seen as a garden, Peter Cook. Ed: The Monacelli Press.

TUTORS

Clément BlanchetClément Blanchet is a French architect, teacher and critic, actively practicing in the fields of architectural theory, urbanism, and cultural investigations. Clément Blanchet is an ex -Associate of the Office for Metropolitan Architecture, where he joined in 2004. In 2011, Blanchet was appointed Director of OMA France. During his 10 years collaborating with Rem Koolhaas, he has contributed to the development of OMA in France and led several winning project for the firm, including the construction of Serpentine Gallery in London, the design and construction of Caen Library (Completion 2016) in France, the design and development of winning entries like the Convention and exhibition Centre in Toulouse, the Engineering school of Centrale, master plans in Saclay and in Bordeaux, and lately the bridge JJ Bosc over the Garonne in Bordeaux. In May 2014, CLEMENT BLANCHET ARCHITECTURE is founded in Paris. The practice is structured as a laboratory, researching, informing and generating architecture / urbanism in all its forms. From a selection of projects, cBA is currently developing competitions for the redesign of the Ferry Boat Terminal in Toronto, major office headquarters in Toulouse and is designing a high rise in Nice, as well as continuing the finalization of Caen library in collaboration with OMA. He graduated with high honors from the Architectural school of Versailles and has been an invited critic to Architectural schools in France, England, Holland, Denmark & Sweden. He currently teaches at Paris Val de Seine Architectural School and the University of Michigan.

Ana Marti-BaronAna Marti-Baron is a Spanish architect and landscape architect actively practicing in the fields of landscape, urbanism and public space. She studied in the Ecole Nationale du Paysage de Versailles-Paris ENSP and graduated with honors in Urbanism and Architecture from the Architectural School ETSAB in Barcelona in 2003. She worked in the Urban Projects Department of the Barcelona City Council before joining the office of MDP Michel Desvigne Paysagiste from 2003 to 2015. Since 2004, she was in charge of some major projects of the office at very different scales like the Burgos Master plan with Herzog & de Meuron, the Master plan for all the public spaces of the city center of Toulouse, the urban renewal for the redevelopment of a 37 hectares industrial site or a 45 hectares park on the right bank in Bordeaux among others.In 2016, Ana opens her own practice. Based in Paris, the practice is structured as a laboratory for urbanism, landscape and public spaces in all its forms, scales and contexts. She is currently working on projects in France, England and Romania like the development of the Master plan for a new mixed-use district in the industrial site of Fives Cail in Lille, including the design of all public spaces.Ana has taught at the AA Architectural Association in London during the 2014 AA Summer School where she was teaching Unit 3 with Clement Blanchet. She has also taught at the Ecole Nationale Supérieure Paris Val de Seine in 2015 as an invited teacher. She has also been an invited critic at the Ecole Spéciale d’Architecture of Paris and at the Ecole Nationale Supérieure de la nature et du paysage de Blois (France).

AA SUMMER SCHOOL 2016 LONDON-TIME

LONDON ( T E A S I N G ) TIME3 / 3

UNIT 5

Sabrina Morreale and Valerio Massaro

2 SECONDS CITY Valerio Massaro and Sabrina Morreale

LONDON THROUGH IMAGES

A city can be portrayed through maps, drawings,

and photographs. From the invention of the print

press, technology influenced the reproducibility and dissemination of images; hence, also the

way information is gathered and understood. The

way, in which streets, buildings, monuments, and

infrastructures have been drawn, deploy new ways

of understanding what is around us.

Although, the transformation of a city is not

defined in its images but in the time span between moments. Any representation of a city betrays its

mutating condition. The contemporary condition is

that it is possible to create a pret-a-porter city image

every minute of our life.

COMPRESSING TIME AND SPACE

The world we live in is a fragmented reality. We live

today in an era where we constantly sample, curate,

squeeze, and assemble fragments of time and urban

space through Facebook, Twitter, Snapchat. In the

era of internet, Google maps, and Gis softwares, the

city becomes scale-less and content-less. You decide

where to position yourself in the city, at what scale

you want to experiment and from what point of view

you want to approach things around you. You define your own content. The image of the city is created

through our own perception and narrative. The city

becomes a self-portrait of ourselves.

What is today the time span of a city? What its image

and its identity?

CREATING MOMENTS

Our mission is to redefine the image of the city embracing the shortest and possible media able to

convey transformation. Our aim is not to produce

an image of London, yet to produce the image of a

London’s moment using gif and animations no longer

than two seconds.

We want to embrace the reduced timeframe of

the gif, the tweet, the online post. We believe that

this conceptual relationship between time and

space can be pushed enlarge or shorten time. The

interactions between two or more moments can

create a new city of London. Which are the spatial

changes displayed in the time span of a selfie or a two seconds gif? Can you design a moment?

A NEW gifMANIFESTO

Gif is a new language

The graphics substitute words, creating a visual alphabet

Gif is the media of action

They are movement; which is the visual representation of change.

Gif is a visual characters

The ideograms of the contemporary constantly expanding universe of Internet communication.

The gifs are emotional upgrades of obsolete way of communication such as the written words.

Gif works through repetition

The loop creates new meaning through repetition. Reiteration a narrative device.

Gif is a moment

The compressed time frame of a gif is the most direct way of conveying change, Transformation, evolution. The image is the mean. The gif is the

mean of change and movement. It is a memory of an irrepetible moment.

Gif has no authorship

They are fragments, stolen pieces of media. They are fragments of reality, films and imaginations.

Gif is a concept

Every gif convey one specific idea. Every idea is unique, yet endlessly shareable.

Gif is a project

Gifs are stolen. Gifs are quotation, reinterpretations, fragments of reality and other media.

The expanding universe of Internet communication is our worldwide knowledge.

Gif is viral

Gifs have to potential to expand their audience. They can spread ideologies. They are a project.

Gif is perception

Gifs are the forthcoming language that does not need translation. Pure flow of visual consciousness.

SCHEDULE

4th July- 8th July RECORD

The frst week serves as a data collection from all types of online plat-form. The students are invited to choose moments and fragments which they they can relate to the city of London and to the idea of time. The research will take place through different tools: mapping trajecto-ries, taking pictures or recording videos.

Each student will build its own argument choosing only one element. What is your momentum? What is your time span?

11th July- 15th July CONNECT

The second week is the moment of weave the pieces within each oth-er. The students are invited to exchange moments and to find a thread throughout them. A new map will be created with the new data accu-mulated. Where do you place your moment within this new city? How do you deal yourself, as a architect within this continuum?

18th July- 22nd July CREATE

The third week is when the students will put forward a proposal us-ing the media and instruments used to investigate the city. Whereas a speculation or an actual proposal, the aim is to create a collective knowledge of a city which is changing every day, every hour. The final output will be twofold. On one hand we have the ambition to produce a collective image of a London’s Moment. The Class will be asked to pro-duce a collective document able to describe a specific moment of their London experience. On the other hand, smaller group of students will produce spatial proposals that should be argued and described through their ability to create new moments in the city. Therefore, those pro-posals should be described and displayed with coherent media: GIFS, Status, Social Media profiles etc.

Valerio Massaro Architect. 2016 MPhil Candidate Projective Cites, AA School of Architec-ture. His current research revolves around housing in London; how em-bracing neo-liberal ethos can allow a different form of ownership; and rethinking of services provision and infrastructures. He holds a Professional Degree with honors from DIDA (Dipartimento di Architettura), University of Florence, Italy. In the university of Florence, he collaborated as tutor in urban design and landscape courses and in computer aided design. He worked as architect and 3d modeler in dif-ferent practices in Italy and the U.K. and founded and supervised as art director the webzine NIPmagazine.it from 2010 and 2015.

Sabrina Morreale AADip graduate 2016. Her projects have always been related to the idea of fragmentation, using different media, enhancing the process of how things are made and assembled together. She worked in several offices as architectural assistant in London and she is still collaborating with the Oxford Press as illustrator. She is cur-rently working on the construction of a hand-crafted pinball machine.

Bibliography

http://www.eamesoffice.com/the-work/powers-of-ten/

http://www.timeanddate.com/time/time-zones-history.html

https://www.khanacademy.org/humanities/global-culture/conceptual-perfor-mance/a/vito-acconci-following-piece

https://www.instagram.com/?hl=en

https://www.tumblr.com/

https://www.snapchat.com/l/it-it/

https://twitter.com/?lang=en-gb

https://www.facebook.com/

http://barbaslopes.com/np4/31/%7B$clientServletPath%7D/?newsId=139&file-Name=COLLAGE.pdf

http://giphy.com/search/giffy

https://www.youtube.com/watch?v=WDpKzaKcmYA

Mapping

the activity or process

of creating a picture or

diagram that represents

something

Happening

Events and occurrences

Time

the part of existence that is

measured in minutes, days,

years, etc., or this process

considered as a whole

Lapse

a period of time passing

between two things

happening

Ideology

Ideas, concepts and theories

Span

the period of time that

sometimes exists or

happens

Unit

a standard measure

Linking

a connection between documents

on the internet

Bridging

something that makes it easier to

make a change from one situation

to another

Gif

Graphic Interchange Format: a

type of computer file that is often

used for images on the internet

Interaction

an occasion to communicate with

or react to each other

Compression

Squeezing and grinding

Alteration

a change, usually a slight change,

in the appearance, character, or

structure of something

Fragments

a small piece or a part.

Digital

showing information in the

form of an electronic image

Analogue

Recording sounds and images

Past

in or to a position that is

further than a particular point

Future

a period of time that is to

come

Real

things as they really are, not as

they exist in the imagination, in

a story, on the internet, etc

City

Geographical places

Encyclopedia

UNIT 6

Onur Ozkaya and Vikrant Tike

MEMORY DEVICES

Onur Ozkaya & Vikrant Tike

Summer School 2016

TO REMEMBER AND TO FORGET

In Fumes the Memorious, Luis Borges narrates the fictional story of a man who remembers too much, a man who could spend an entire day on re-constructing his past memories, or a dream from last night or all other numbers, languages or objects he has come across until his entire world is one of intolerably uncountable details, an infinite mental catalogue of all the images of his memory.

Despite his irrefutable memory Borges summaries at the end that it was difficult for Fumes to think since “ to think is to forget a difference, to generalize, to abstract. In the overly replete world of Funes, there was nothing but details.”

The reconstruction of our memories defines time for an individual. But it isn’t only what we remember, it is also what we choose to forget that constructs the mental structures of the places we have been, the people we have met , what we have felt or seen or heard , creating the ever changing stream of the memories we live with.

Similarly with the passing of time, as memories of events fade, buildings and spaces and even cities often maintain meaning that no longer represent their current use or value, limiting our imaginations to their possibilities of change.

Through fabricating a memory can we empower communities to counter present dominant narratives? And perhaps to reimagine a future that better understands what we would like to take forward and what traces we would like to remember of the past.

We at one glance can perceive three glasses on a table, Funes, all the leaves and tendrils that make up the grapevine.

He knew by heart the forms of the clouds at dawn on the 30th April 1882, and could compare them in his memory with the mottled streaks of

a Spanish book he had seen only once and with the outlines of the foam raised by an oar on the Rio Negro

the night before the Quebracho upsring.These memories were not simple ones;

each visual image was linked to a muscular sensation, thermal sensations and so on.

Jorge Luis Borges _Fictions

MEMORY DEVICES

Learning Outcomes

1. Urban Studies: Mapping and translating the functioning of the City.2. Documentation: Materializing research and conceptual development in different formats.3. Digital: Learning about contemporary digital design tools.4. Team Work: The collective imagination of the unit will determine its work.5. DIY Attitude: How to use limitations of space, scale, and time as a creative opportunity.6. Prototyping: How to adapt both sophisticated and primitive design techniques.

THE BRIEF

Taking London as the catalyst for reconstructing either personal or collective memories , the unit will create 1:1 scale devices that will challenge the essence of time and its transcendental nature within our minds as well as the surrounding built environment.

Exploring the ephemeral relationship between memory and place as philosopher Edward Casy puts it “at once intimate and profound”, we will unite narratives, places and objects to create superfluous devices that have multiple meanings idiosyncratically linking the collective and the individual.

Unlike a public clock , as the horologist Douglass H Shaffer says “is a fixed, monumental, functioning as an iconic time device”, our structures will oscillate between the personal and the public creating a nomadic and fluid space-time continuum, constantly shifting like our cities and our memories of them.

WEEK 1 // TRACES

Week 1 begin by taking memory trails along the East London and Regents Canal observing the fragments, trajectories and moments that form the spatial and mental layers of this urban environment.

By mapping the traces of the trails through a combination of photo, video, sound and found objects students will fabricate individual narratives that form a ‘synthesised memory’ associated with their recent experiences of London.

WEEK 2 //ARTEFACTS

The second exercise will be expanding on these experiential narratives into objective artefacts. Using a combination of the AA wood workshop as well as the digital prototyping lab, we will test several small scaled sketch models of our devices.

WEEK 3 // DEVICES

Week Three will comprise of constructing a 1:1 physical installation of the ‘memory device’ that will be located within the chosen site/s and then using it as a catalyst to generate new or shift historical memories of the city. The devices will be modular and portable with easy assembly and fabrication methods. The play of these devices with its context will be documented to form a new body of re-constructed narratives and space- time memories that will presented at the final AA Jury.

METHODOLOGY AND SCHEDULE

wal

king

writ

ing

anal

ysin

gco

llagi

ngpr

otot

ypin

gm

akin

g

TEAM

ONUR OZKAYA is a practicing industrial designer and a lecturer at Cambridge School of Art and Chelsea College of Art in London. He started experimenting with furniture and industrial design as an architecture student at Architectural Association, London. His research and practice have been focusing on geometry, composite materials and complex manufacturing techniques to explore contemporary design solutions in the field of architecture and design. He completed his graduate degree at the Architectural Association and worked for Foster and Partners between 2007-2009. His recent furniture projects received several design awards in Tokyo (Tokyo Designers week 2014) and Italy (A’design Awards 2013-14). Based in London, he has been working across a wide range of disciplines, developing many consumer products from furniture to various design commissions.

VIKRANT TIKE completed his architectural education at the London Metropolitan and the AA School of Architecture after having studied fashion and sound engineering . Working for international architectural practices like Foster and Partners, Vikrant gained design experience on international large scale high rise towers and masterplan projects in Australia, Malaysia and Morocco. He was Unit1 Master for at the Chelsea School of Arts in 2013-14 and has taught at the AA Summer School, Vertical Design Studio at the Welsh School of Architecture as well as at the BSSA school in Mumbai. He also tutored at the Vernal fabrication workshop held at Biligi University in Istanbul in 2013. With a keen interest in combining high quality hand craftsmanship with contemporary digital design and fabrication techniques, Vikrant co-founded SAV in 2011 and currently drives the digital modeling and fabrication research within his studio.( http://www.studioamitavikrant.com )

TALKS AND WORKSHOPS

A series of weekly cross disciplinary talks and workshops will be held throughout the program.

REFERENCES

// John Hedjuk, Collapse of Time// Conrad Shawcross, Chord// Emma McNally1, Graphite Drawing of London// Georges Perec, Species of Spaces and Other Pieces

UNIT 7

Alvaro Velasco Perez and Javier Anton

THE (NEW)MONUMENT

PATCHWORKING ENTROPIES

AA S

UMM

ER S

CHO

OL

2016

It is

in th

e ed

ge o

f tha

t dua

lity th

at d

iffer

ent a

utho

rs h

ave

read

the

city.

Willi

am B

lake

wa

lked

its s

treet

s se

eing

the

cond

emne

d m

etro

polis

with

its

“mar

ks o

f wea

knes

s,

mar

ks o

f woe

.” Ho

weve

r, al

ong

the

lines

of h

is Lo

ndon

(179

3), t

he g

aze

of th

e po

et

brin

gs C

ain’

s m

ark

—th

e sy

mbo

l God

put

into

Ada

m’s

son

as c

urse

for t

he m

urde

r of

his

brot

her(“

A re

stle

ss w

ande

rer y

ou w

ill be

on

earth

(...)s

o th

at n

o on

e co

min

g ac

ross

hi

m w

ould

kill

him

.” G

n 4:

12-1

5)—

, a s

ign

of w

oe a

nd th

e pr

omise

of p

rote

ctio

n.

Late

r, T.

S. E

liot w

ould

be

the

one

cont

inui

ng th

e pe

ripat

etic

appr

oach

, cro

ssin

g a

Lond

on B

ridge

that

con

tinuo

usly

seem

ed to

be

fallin

g, re

adin

g Lo

ndon

as

The

Was

te

Land

(192

2), t

he m

oder

n cit

y th

at y

ield

s no

frui

t. O

ppos

ed to

the

verti

cal e

rect

ion

of

The

Mon

umen

t and

its

succ

eedi

ng m

onum

ents

(ghe

rkin

s, s

hard

s or

che

ese-

grat

ers)

, El

iot’s

jour

ney

is do

wnwa

rds

in a

re-e

nact

men

t of D

ante’s

Infe

rno,

hop

ing

that

at

its b

otto

m h

e wi

ll find

the

shan

tih(“t

he P

eace

whi

ch p

asse

th u

nder

stan

ding

”) wi

th

which

he

close

s th

e po

em. I

t was

the

closin

g lig

hts

of th

e da

y ov

er “t

he b

igge

st,

and

the

grea

test

, tow

n on

ear

th” t

hat t

rigge

red

Mar

low’

s m

emor

ies

of th

e He

art o

f Da

rkne

ss(1

899)

, ope

ning

the

book

des

crib

ing

Lond

on w

ith h

is “a

nd th

is al

so(..

.)has

be

en o

ne o

f the

dar

k pl

aces

of t

he e

arth

.” Jo

hn H

ejdu

k er

ecte

d th

e Co

llaps

e of

Tim

e (1

986)

in B

edfo

rd S

quar

e as

a c

ount

er-M

onum

ent t

hat j

oine

d th

e tim

e of

mem

ory

and

the

time

of c

offin

-mak

ing.

It is

that

read

ings

of L

ondo

n as

a m

onum

ent “

not b

uilt

for t

he a

ges,

but

rath

er a

gain

st th

e ag

es”(S

mith

son)

, the

Lon

don

of “n

o fu

ture

”(Sex

Pi

stol

s), w

hich

is o

ur c

once

rn: a

sea

rch

for a

n en

tropi

c Lo

ndon

. Our

inte

rest

is in

ar

guin

g th

e ex

isten

ce o

f ano

ther

Lon

don,

one

that

is n

ot o

n its

stre

ets

but i

n th

e (m

al-)fi

ctio

ns th

ey h

ave

gene

rate

d(in

liter

atur

e, c

inem

a, m

usic

and

arch

itect

ure)

. Not

a

phys

ical L

ondo

n bu

t an

unre

al o

ne.

Our

aim

in P

atch

work

ing

Entro

pies

is to

app

roac

h Lo

ndon

thro

ugh

thes

e le

nses

. W

e wi

ll exp

lore

the

entro

pic

fictio

ns b

y wa

tchi

ng fi

lms,

read

ing

book

s an

d lis

ten

to m

usic

that

hav

e re

pres

ente

d th

e cit

y. Th

en, w

e wi

ll tra

nsla

te th

em in

to s

patia

l re

prod

uctio

ns a

nd e

xper

imen

t with

the

arch

itect

ural

stra

tegy

of p

atch

work

ing

to

gene

rate

a c

olle

ctive

mod

el o

f the

uni

t. Th

at m

odel

will

cons

titut

e an

d ch

alle

nge

the

unde

rsta

ndin

g of

Lon

don

as a

con

tinuu

m in

spa

ce a

nd ti

me.

As o

ppos

ed to

a re

adin

g of

hist

ory

as a

con

tinuu

m m

ovin

g to

ward

s pr

ogre

ss,

Patc

hwor

king

Entro

pies

see

s it

mov

ing

towa

rds

its c

olla

pse.

Con

tem

pora

ry m

etro

polis

is

prai

sed

as c

acop

hono

us c

ongl

omer

atio

n of

diff

eren

t voi

ces.

Man

y tim

es a

nalys

ed

as a

phy

sical

ove

rlap

of d

iffer

ent l

ayer

s in

whi

ch th

e co

ntin

uum

of t

ime

is pr

inte

d ov

er th

e ye

ars,

the

city

seem

s to

dev

elop

onl

y to

ward

s im

prov

emen

t thr

ough

tim

e.

Our

und

erst

andi

ng o

f the

city

, and

par

ticul

arly

of L

ondo

n, g

oes

beyo

nd th

e ph

ysica

l on

e. In

par

alle

l to

the

phys

ical p

rese

nce

of th

e bu

ilt Lo

ndon

ther

e is

a fic

tiona

l one

. Th

e la

tter p

rodu

ct o

f the

read

ings

and

tran

slatio

ns o

f the

form

er. F

ilm, l

itera

ture

and

m

usic

confi

gure

an

unre

al c

ity th

at a

rchi

tect

s ca

n ta

ke a

dvan

tage

from

for o

ur ro

le

of p

rodu

cers

of n

ew re

adin

gs o

f the

city

. Was

Dick

ens’

Blea

k Ho

use(

1853

) mor

e in

fluen

tial in

the

confi

gura

tion

of L

ondo

n th

an S

idne

y Sm

irke’

s Ca

rlton

Clu

b(18

54)?

Ku

brick’s

Lond

on in

A C

lock

work

Ora

nge

or T

ham

esm

ead

Sout

h es

tate

whe

re it

wa

s sh

ot?

For u

s, th

e co

ntin

uum

in th

e cit

y is

pres

ent i

n th

e la

yers

of fi

ctio

n th

at it

s lite

ratu

re, fi

lm a

nd m

usic

gene

rate

.

Lond

on’s

time

cont

inuu

m is

now

and

Pud

ding

Lan

e. T

here

, ere

cted

as

mem

oria

l of

the

Gre

at F

ire th

at d

evas

tate

d th

e Ci

ty in

166

6, s

tand

s Th

e M

onum

ent.

The

traum

a ge

nera

ted

by th

e ep

isode

pla

ced

the

mon

umen

t in

a st

ate

of e

xcep

tion

as m

emor

ial;

com

mem

orat

ion

here

see

ks fo

r obl

ivion

mor

e th

an fo

r kee

ping

in m

ind.

How

ever

, as

capi

taliz

ed v

ersio

n of

all t

he o

ther

s, th

e M

onum

ent p

uts

into

que

stio

n th

e ca

tego

ries

of h

istor

y as

socia

ted

to s

uch

rem

inde

rs. A

s bl

ank

Traj

an’s

colu

mn,

it d

oesn’t

engr

ave

the

even

t but

por

trays

the

tabu

la ra

sa it

pro

duce

d; it

doe

sn’t

cele

brat

e hi

stor

y bu

t its

su

spen

sion.

How

doe

s Th

e M

onum

ent o

pera

te in

a c

ity th

at w

ants

to re

plac

e Ro

me

as T

he E

tern

al C

ity?

The

Mon

umen

t bec

ame

a tu

rnin

g po

int i

n th

e lo

gic

of c

lass

ic m

onum

ents

. Alth

ough

del

ivere

d so

me

thre

e hu

ndre

d ye

ars

befo

re th

e du

e da

te, i

t ca

n be

con

sider

ed a

pre

mat

ure

nata

lity o

f wha

t Rob

ert S

mith

son

calle

d th

e ‘n

ew

mon

umen

ts’,

which

“ins

tead

of c

ausin

g us

to re

mem

ber t

he p

ast(.

..), [

they

] see

m to

ca

use

us to

forg

et th

e fu

ture

.”(En

tropy

and

the

New

Mon

umen

ts) I

t is

with

that

con

ditio

n of

sta

ndst

ill in

the

time

cont

inuu

m th

at T

he M

onum

ent s

ynth

esise

s m

any

of th

e fic

tiona

l re

adin

gs o

f Lon

don,

a c

ity tr

appe

d be

twee

n its

repr

esen

tatio

n as

New

Bab

ylon(

the

city

of c

olla

pse)

and

New

Jer

usal

em(th

e cit

y of

per

fect

ion)

. The

ash

es w

ith w

hich

the

ciner

ary

urn

crow

ns th

e co

lum

n op

erat

e as

sym

bol o

f bot

h th

e Ph

oeni

x’s re

dem

ptio

n an

d th

e et

erna

l Fire

.

“On

risin

g to

my

feet

, and

pee

ring

acro

ss th

e gr

een

glow

of t

he D

eser

t, I

perc

eive

d th

at th

e m

onum

ent a

gain

st

which

I ha

d sle

pt w

as b

ut o

ne o

f tho

u-sa

nds.

Bef

ore

me

stre

tche

d lo

ng p

aral

-le

l ave

nues

, cle

ar to

the

far h

orizo

n of

sim

ilar b

road

, low

pilla

rs.”

John

Tai

ne(E

ric T

empl

e Be

ll), T

he

Tim

e St

ream

“...th

e cit

y m

ust n

ever

be

conf

used

wi

th th

e wo

rds

that

des

crib

e it.

And

yet

be

twee

n th

e on

e an

d th

e ot

her t

here

is

a co

nnec

tion.

”Ita

lo C

alvin

o, In

visib

le C

ities

THE (NEW)MONUMENT

PATCHWORKING ENTROPIES

Patc

hwor

king

Entro

pies

stu

dio

take

s pl

ace

in th

e ye

ar 2

366.

Usin

g 20

16 —

350

anni

vers

ary

of th

e G

reat

Fire

— a

s m

irror

of 1

666

in w

hich

to p

roje

ct L

ondo

n in

its

futu

re s

tate

, we

will

desig

n a

city

in a

n im

min

ent s

tate

of i

gnitio

n—a

(new

) Gre

at F

ire, p

ossib

ly th

e fin

al o

ne, i

s ab

out t

o ar

rive.

The

stud

io w

ill be

dev

elop

ed in

two

phas

es:

The

first

one

will

addr

ess

the

repr

esen

tatio

n of

Lon

don

in 2

366.

For

it, w

e wi

ll eng

age

with

the

read

ings

(boo

ks, fi

lms,

mus

ic an

d ar

chite

ctur

e) o

f Lon

don

as e

ntro

pic

city.

The

outp

ut o

f thi

s ph

ase

will d

evel

op T

he (N

ew) M

onum

ent—

a co

llect

ive m

odel

of t

he C

ity

elab

orat

ed b

y th

e st

udio

in c

onju

nctio

n. T

he p

ropo

sal w

ill co

nsist

of t

he p

atch

work

of t

he

entro

pic

visio

ns o

f the

city

. The

mai

n ai

m o

f the

wor

ksho

p is

for t

he s

tude

nts

to u

nder

stan

d ‘p

atch

work

ing’

as

arch

itect

ural

stra

tegy

. Sim

ilar t

o co

llage

and

laye

ring

in th

e su

perp

ositio

n of

mism

atch

ed e

lem

ents

, pat

chwo

rkin

g as

a te

chni

que

will m

ove

beyo

nd. O

n th

e on

e ha

nd,

it wi

ll em

phas

ise th

e (re

)pro

duct

ion

of fr

agm

ents

—fro

m th

e lite

rary

, cin

emat

ic, e

tc s

ourc

es—

mor

e th

an th

e as

-foun

d co

nnot

atio

n of

col

lage

. On

the

othe

r, in

the

patc

hwor

k th

e st

itche

s be

com

e as

rele

vant

as

the

patc

hes

as s

pace

s in

whi

ch to

ope

rate

for g

ener

atin

g th

e qu

ilt as

a w

hole

. The

pat

chwo

rk in

our

brie

f will

beco

me

both

the

(re)p

rodu

ctio

n of

the

narra

tives

in

to s

pace

s an

d th

e st

itchi

ng o

f ove

rlapp

ing

poin

ts in

them

. Exp

lorin

g te

xts

such

as

The

Was

te L

and

and

The

Portr

ait o

f Dor

ian

Gra

y, film

s as

V fo

r Ven

detta

or C

hild

ren

of M

an, w

e wi

ll rep

rodu

ce th

eir s

patia

l con

stru

ctio

n. T

here

fore

, the

uni

t will

deve

lop

an a

rchi

tect

ure

of

trans

latio

n—re

pres

enta

tion

inst

ead

of d

esig

n—of

the

fictio

nal d

epict

ions

.

Mud

lurk

ing

in th

e riv

er T

ham

es w

ill be

our

mat

eria

l sou

rce.

As

oppo

sed

to th

e ne

w be

ginn

ing

set b

y fir

e, th

e st

ream

flow

of F

athe

r Tha

mes

pro

duce

s a

diffe

rent

con

tinuu

m

in th

e hi

stor

y of

the

city.

For y

ears

use

d as

dum

ping

yar

d of

Lon

don,

the

low

tide

is an

op

portu

nity

for d

ebris

-hun

ting.

For

us,

the

idea

of ‘

debr

is’ c

halle

nges

the

cont

inuu

m o

f tim

e:

drow

ned,

its

past

is fo

rgot

ten;

dis-

func

tiona

l, its

pre

sent

is o

n ho

ld. W

e wi

ll app

ropr

iate

an

d m

odify

them

to re

pres

ent t

he fu

ture

. Out

of t

he d

ebris

of L

ondo

n we

will

re-p

rodu

ce it

s en

tropi

c vis

ions

. In

our m

ind

ther

e ar

e re

fere

nce

to S

chwi

tters’ M

erzb

au c

olum

n or

Baa

der’s

G

reat

Pla

sto-

Dio-

Dada

-Dra

ma,

tote

mic

cons

truct

ions

and

bur

ning

cat

afal

ques

...

Howe

ver,

our v

ersio

n wo

uld

be in

‘des

truct

ivist’ s

tyle

as

the

seco

nd p

hase

will

cons

ist in

the

prod

uctio

n of

a (f

ake)

docu

men

tary

of t

he d

ay o

f the

(New

) Gre

at F

ire. T

his

phas

e wi

ll foc

us

on th

e st

agin

g of

the

com

ing

its e

nd. I

ts s

tage

will

cons

ists

of a

n ar

chite

ctur

al p

roje

ct o

f de

stru

ctio

n. T

hrou

gh m

ixed-

med

ia w

e wi

ll que

stio

n th

e re

latio

ns b

etwe

en th

e ac

tual

eve

nt,

its re

prod

uctio

n as

fict

iona

l doc

umen

tary

and

its

broa

dcas

ting

in v

irtua

l ver

sion.

All o

f it i

n a

com

-mem

orat

ive c

eleb

ratio

n of

a n

o-fu

ture

to b

e br

oadc

aste

d on

the

2nd

of S

epte

mbe

r, an

nive

rsar

y of

the

igni

tion

of th

e G

reat

Fire

.

1. K

urt S

chwi

tters

. Mer

zbau

Col

umn.

193

3.2.

Fat

her T

ham

es In

trodu

cing

his

Offs

prin

g to

the

Fair

City

of L

ondo

n.3.

Joh

anne

s Ba

ader

. Gre

at P

last

o-Di

o-Da

da-D

ram

a. 1

920.

4. A

tote

m p

ole

from

Xaa

yna,

BC,

hel

d by

a L

iverp

ool m

useu

m.

5. B

urni

ng M

an fe

stiva

l. 20

14.

6. F

alla

in V

alen

cia. 1

959.

7. P

atch

work

qui

lt.

1

23

4

5

6

7

Javi

er A

nton

was

trai

ned

as a

n ar

chite

ct a

t the

Uni

vers

iy of

Nav

arra

, wh

ere

he re

ceive

d hi

s Ph

D on

Hist

ory

and

Theo

ry o

f Arc

hite

ctur

e (2

016)

. He

gra

duat

ed fr

om th

e “M

.S. i

n Cr

itical

, Cur

ator

ial a

nd C

once

ptua

l Pr

actic

es in

Arc

hite

ctur

e” (C

CCP)

at G

SAPP

, Col

umbi

a Un

ivers

ity

(201

4), w

here

he

was

prev

ious

ly Vi

sitin

g Sc

hola

r in

2008

. Dur

ing

his

Mas

ters

at C

olum

bia

he w

as a

ppoi

nted

the

rese

arch

and

teac

hing

as

sista

nt o

f Mar

k W

igle

y, De

an o

f the

Sch

ool.

He o

rgan

ized

and

dire

cted

th

e “C

CCP

Veni

ce O

bser

vato

ry re

sear

ch la

b” d

urin

g th

e 20

14 V

enice

Bi

enna

le.

He h

as re

ceive

d se

vera

l fel

lows

hips

and

gra

nts,

awa

rded

on

desig

n co

mpe

titio

ns a

nd h

as p

rese

nted

his

rese

arch

on

seve

ral I

nter

natio

nal

Conf

eren

ces.

He

has

also

taug

ht fo

r five

yea

rs a

t the

Sch

ool o

f Ar

chite

ctur

e of

the

Unive

rsity

of N

avar

ra, w

here

he

was

rece

ntly

appo

inte

d as

pro

gram

coo

rdin

ator

of t

he n

ew D

egre

e in

Des

ign

that

will

star

t thi

s co

min

g fa

ll.

Alva

ro V

elas

co is

cur

rent

ly co

mpl

etin

g hi

s Ph

D at

the

Arch

itect

ural

As

socia

tion,

Lon

don,

whe

re p

revio

usly

he s

tudi

ed a

MA

in H

istor

y an

d Cr

itical

Thi

nkin

g in

Arc

hite

ctur

e. H

e is

an a

rchi

tect

trai

ned

in th

e Un

ivesit

y of

Nav

arra

, Spa

in a

nd h

e ha

s wo

rked

for p

ract

ices

in S

pain

, Ne

w Yo

rk a

nd L

ondo

n. A

lvaro

has

taug

ht a

nd c

olla

bora

ted

with

the

desig

n de

partm

ents

of t

he A

A an

d th

e Un

ivers

ity o

f Nav

arra

.

45

10W

ELCO

ME

11PR

ESEN

TATI

ON

12 13 14

INTR

ODU

CTIO

N (P

hase

1)

15

(Pha

se 1

)

(Pha

se 2

)

16 17 18 19 10 11 12 13 14 15 16 17 18 19 10 11 12 13 14 15 16 17 18 19

INTR

ODU

CTIO

N

67

89

10

1312

1114

1516

17

2019

1821

2223

24

INTE

RIM

RE

VIEW

week

1

week

2

week

3

Crys

tal P

alac

e on

Fire

(193

6)Ke

iller’s

Lon

don

(199

4)Fi

res

Wer

e St

arte

d(1

943)

Hope

and

Glo

ry(1

987)

The

Portr

ait o

f Do

rian

Gre

y(1

945)

Child

ren

of M

en(2

006)

Less

ons

of D

arkn

ess

(199

2)

Mud

lark

ing

V fo

r Ven

detta

(200

5)@

Brit

ish F

ilm In

stitu

te

The

Sacr

ifice

(198

6)

Sem

inar

on

Read

ings

/Film

sSe

min

ar o

n Re

adin

gs/F

ilms

The

Mon

umen

t

The

Mus

eum

of

Lond

on

Patc

hwor

kof

the

(New

) M

onum

ent

Patc

hwor

kof

the

(New

) M

onum

ent

Day

of th

e (N

ew) G

reat

Fire

Day

of th

e (N

ew) G

reat

Fire

Even

ing

@Jo

hn S

oane’s

Mus

eum

Lect

ure:

St

agin

g th

e Fi

re

Doub

le

Nega

tive

Stud

io[V

isual

Effe

cts]

*FO

RMAT

*FO

RMAT

*FO

RMAT

*FO

RMAT

SUM

MER

SC

HOO

L PA

RTY

Sem

inar

on

Read

ings

/Film

s

Lect

ure:

Entro

pic

Visio

ns

Sem

inar

on

Visu

al E

ffect

sFI

NAL

REVI

EW

Lect

ure:

Lond

on u

nder

des

truct

ion

1

2-3

4

6

98

11

12

13

17

30

26

27

18

22

22

24

1516

16

21

21 31

32

16

19

20

29

19

728

Film

16. V

for V

ende

tta. J

ames

McT

eigu

e. 2

005.

17. T

he P

ictur

e of

Dor

ian

Gra

y. A

lber

t Lew

in. 1

945.

18. C

hild

ren

of M

en. A

lfons

o Cu

arón

200

6.19

. Live

on

Boat

Trip

Que

ens

Jubi

lee.

Sex

Pist

ols.

197

7.20

. Fire

s W

ere

Star

ted.

Hum

phre

y Je

nnin

gs. 1

943.

21.S

tudy

for a

n En

d of

the

Wor

ld n

o2. J

ean

Ting

uely.

196

2.22

. Fire

in th

e Cr

ysta

l Pal

ace.

BUF

VC. 1

936.

23. N

inet

een

eigh

ty-fo

ur. M

ichae

l Rad

ford

. 198

4.24

. Hop

e an

d G

lory

. Joh

n Bo

orm

an. 1

987.

25. S

ween

ey T

odd:

The

Dem

on B

arbe

r of F

leet

Stre

et. T

im

Burto

n. 2

007.

26

. won

der.l

and.

mus

ical b

y Da

mon

Alb

arn.

201

5-.

Literature

1. B

lake

, Willi

am. L

ondo

n in

Son

gs o

f Inn

ocen

ce a

nd o

f Ex

perie

nce.

179

4.2.

Bla

ke, W

illiam

. Jer

usal

em th

e Em

anat

ion

of th

e G

iant

Alb

ion.

18

04.

3. B

lake

, Willi

am. J

erus

alem

in M

ilton.

180

4.4.

Elio

t, T.

S. T

he W

aste

Lan

d. 1

922.

5. C

hest

erto

n, G

. K. T

he M

an W

ho w

as T

hurs

day.

190

8.6.

Con

rad,

Jos

eph.

Hea

rt of

Dar

knes

s. 1

899.

7. M

orris

, Willi

am. N

ews

From

Now

here

. 189

0.8.

Orw

ell,

Geo

rge.

Nin

etee

n Ei

ghty

Fou

r. 19

49.

9. R

uskin

, J. L

ette

rs to

the

Cler

gy o

n th

e Lo

rd’s

Pray

er a

nd th

e Ch

urch

. 188

0.10

. Sha

rpe,

Willi

am C

hapm

an. U

nrea

l Citie

s. 1

991.

11. S

mith

son,

Rob

ert.

Entro

py a

nd th

e Ne

w M

onum

ents

. 196

6.12

. Sm

ithso

n, R

ober

t. A

Tour

of t

he M

onum

ents

of P

assa

ic. 1

967.

13. S

mith

son,

Rob

ert.

The

Dom

ain

of th

e G

reat

Bea

r. 19

66.

14. W

ilde,

Osc

ar. T

he P

ortra

it of

Dor

ian

Gra

y. 1

890.

15

. Wor

dswo

rth, W

illiam

. The

Pre

lude

. 179

8.

Projects

27. B

erna

rd T

schu

mi,

Joyc

e’s

Gar

den.

197

6.28

. Con

stan

t Nie

uwen

huys

. New

Bab

ylon.

195

9-74

.29

. Kur

t Sch

witte

rs. M

erzb

au C

olum

n. 1

933.

30. J

ohan

nes

Baad

er. G

reat

Pla

sto-

Dio-

Dada

-Dra

ma.

192

0.31

. FAT

Arc

hite

ctur

e an

d CA

Hist

oria

ns A

Clo

ckwo

rk J

erus

alem

. 201

4.32

. A+P

Sm

ithso

n. G

olde

n La

ne E

stat

e. 1

952.

14

LONDON TIME

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