STORIES FROM THE

CITY

“Fiction reveals truth that reality obscures.” Ralph Waldo Emerson

Architectural Association School of Architecture 27 JUNE – 15 JULY 2011

STORIES FROM THE CITY

SUMMER SCHEDULE 2011

WEEK 1 27 June - Mon 9:30 Registration, Coffee + Croissants AA DINING ROOM 10:30 Introduction AA DINING ROOM 11:00 Unit Presentations and Selections AA DINING ROOM 13:00 Lunch AA DINING ROOM INTRODUCTIONS ARE COMPULSORY FOR STUDENTS AND TUTORS GROUP 1 14:00 ELECTRONIC MEDIA LAB INTRO 39 BEDFORD SQ 1ST Flr GROUP 1 15:00 WORKSHOP INTRO AA WORKSHOP GROUP 2 14:00 WORKSHOP INTRO AA WORKSHOP GROUP 2 15:00 ELECTRONIC MEDIA LAB INTRO 39 BEDFORD SQ 1ST Flr 16:30 Team Announcements + Drinks AA TERRACE 28 June - Tue 10:00 - 21:00 Design Studio 16 MORWELL ST 29 June - Wed 10:00 - 21:00 Design Studio 16 MORWELL ST 30 June - Thu 10:00 - 21:00 Design Studio 16 MORWELL ST 01 July - Fri 10:00 - 21:00 Design Studio 16 MORWELL ST 02 July - Sat 10:00 - 20:00 Design Studio 16 MORWELL ST 03 July - Sun STUDIOS CLOSED

WEEK 2 04 July - Mon 10:00 - 21:00 Design Studio 16 MORWELL ST 05 July - Tue 10:00 - 21:00 EVENT Cross Section 1: Internal Critics 16 MORWELL ST 06 July - Wed 10:00 - 12:30 PRESENTATION Student Work Show 16 MORWELL ST 13:00 - 21:00 Design Studio 16 MORWELL ST 07 July - Thu 10:00 - 21:00 Design Studio 16 MORWELL ST 08 July - Fri 10:00 - 21:00 Design Studio 16 MORWELL ST 09 July - Sat 10:00 - 20:00 Design Studio 16 MORWELL ST 10 July - Sun 10:00 - 20:00 Design Studio 16 MORWELL ST

WEEK 3 11 July - Mon 10:00 - 21:00 Design Studio 16 MORWELL ST 12 July - Tue 10:00 - 21:00 Design Studio 16 MORWELL ST 13 July - Wed 10:00 - 21:00 Design Studio 16 MORWELL ST 14 July - Thu 10:00 - 21:00 Design Studio 16 MORWELL ST 15 July - Fri 10:00 - 17:00 EVENT Cross Section 2: External Critics 16 MORWELL ST 18:00 - late End of Summer School PARTY! BEDFORD SQUARE [Individual unit schedules and special events to be announced by unit tutors]

STORIES FROM THE CITY

Architectural Association School of Architecture Summer School 2011

Director Natasha Sandmeier

Programme Co-ordinator

Manijeh Verghese

UNIT 1 Alex Kaiser, Anderson Inge & Trevor Flynn

UNIT 2

Ingrid Shroeder & Julika Gittner

UNIT 3 Lawrence Lek, Onur Ozkaya & Jesse Randzio

UNIT 4

Nacho Martin & Manuel Collado

UNIT 5 Olga Felip Ordis, Albert Serra Juanola, Irene Solà, Jaume Farrés & Catarina Brito

unit 1Alex Kaiser, Anderson Inge & Trevor Flynn

A Tale of 3 Cities

Alex KaiserTrevor Flynn

Anderson Inge

“Futures not achieved are only branches of the past: dead branches.”

them very much alive. We will act as archaeologist, forensic observer and oracle, extracting evidence of the people, stories and architecture of these times. From here we will discover and construct new realities as an unfolding set of “Cities” that weave together the past, present and future.

Using selected London sites as catalysts to delve into these different realities, we will extract and explore the forces that shape past and future narratives using a series of intense, varying drawing methods, both explorative and experimental, digital and freehand. In a completely additive process of sketching, stamping, drawing, printing, tearing, gluing, cutting, throwing, we will record, modify and extract information from these drawings. The Drawings will become the “cities” where we will discover the architecture, people and their stories. Each city will have a mentor that provides stimulus and differentiation – an architect (Soane), a writer (Calvino), and an artist (Piranesi).

The passage of time will be composed through a singular drawings that allow one to understand the past and unravel the future, As Cobb mentions in Christopher Nolans Inception, We will both “create and perceive our world simultaneously”.

We will be extracting information from different times/eras in order to create new architectural interventions and narratives in the current world; this will be expressed through the development of three

hand experience of working in small teams in a collaborative and supportive environment; building a richness of architectural and spatial reference that can be drawn upon throughout the project.

With this experience of visual research through drawing, students will then visit seed sites. Each group of 3 will decide on an individual site they will work at. Through drawing and research students will begin to discover the social conditions that used to exist and the rich layers of architectural history that prevailed to support this existence.Groups will work on 3 large scale singular drawings 1.5-2m. Each drawing corresponding to one city. Students will split the work in creating these drawings and all individuals will gain experience with a range of techniques.

City 1 (Soane)

Including – John Soane Museum, St Giles church, and the futuristic interior / engineering of Westminster Underground. Individual’s drawings will serve as a gateways into the alternate realities from which we will deconstruct forms and spaces. This will be the basis of larger collaborative “clusters”. Juxtaposing formal and narrative fragments

city emerges raw, heterogeneous, provisional. This city does not have a scale, it is neither urban nor atomic but is dictated by our perception.

Storyboarding techniques, sequential drawingAdvanced digital painting techniques - Light, tone, texture, detail.Approaches to drawing and representationThe psychological and narrative implication of light and shadowPainting mood, atmosphere, depth

City 3 (Piranesi)

stories, characters and architectural visions. We have set the scene, we know the society, the typologies (whether they be existing or imagined), the landscape. What does one see, hear, taste, touch, smell. Through the development of the 3 cities we aim to provoke real occupation. With the culmination of all the drawing and painting techniques learnt throughout the course, our aim is to create clear sequential drawings that

Accentuation / inattention to detail – prioritising informationComposition and image complexity – layering, collaging, juxtapositionFast explorations through brushwork and quick conceptsDigital Collaging - Photojunk integration and painting overIntroduction to 3D Studio Max - Rough modellingUsing 3d Studio Max as tool offset to painting/drawingPainting/drawing over and into 3d models, using 3d max as base

City 2 (Calvino)

The second city will be a city of intentions. We will decide and focus on

draw the second city. This will require large-scale redraws that dip into the students growing architectural repertoire. Students will now begin to formulate the critical discussion that underpin their decisions. The group iterate their growing vision in a series of written paragraphs. This will

as in Alex Proyas ‘Dark City’, where the city is manipulated or ‘tuned’ to see how people respond to changes in infrastructure we will manipulate the initial city into a purer concept of itself. Observing the society, the buildings, the narratives.

Drawing visits to John Soane Museum, St. Giles in the FieldsObservational perspective drawing, technical perspective drawingWelding orthographic plan, section and axonometricThumbnail Techniques, Drawing with tone & line, developing a narrativeDrawing with graphite, conte, pen, pastel, ink, wash, coloured pencilIntroduction to Photoshop - Transition from reality to digital

Reading/Reference List

Italo Calvino, Invisible CitiesScott McCloud, Understanding ComicsThomas Hardy, Jude the Obscure Charles Dickens, Hard Times, for its characterization and narrative structureEdward Tufte, The Visual Display of Quantitative Information.Steen Eiler Rasmussen, London: the unique city Gordon Cullen, Concise townscape

Michael Fried, essay Art and ObjecthoodPeter Ackroyd, Hawksmoor. London, the biography

Anderson Inge AIA, ARBS BAarch, MSc Civ Eng, MSc Arch, BFA sculpture

Anderson Inge is an architect who also trained as a structural engineer and as a sculptor. Anderson initially studied architecture at the University of Texas at Austin and at the Architectural Association in London, followed by post-graduate degrees in architecture and structural engineering concurrently at M.I.T. His training in sculpture at Central Saint Martins as a mature student made sense of it all. Throughout his career, Anderson has interwoven architecture

continually integrate concerns of aesthetics, materiality and structure. He has practiced, exhibited and lectured extensively in the UK and the US. Based in London, Anderson has taught on undergraduate and post-graduate programs in the USA and Europe, including the Architectural Association (since 1997; in Technical Studies, Media Studies, and Housing & Urbanism); the Rural Studio at Auburn University (since 2001); Royal College of Art; Ruskin School at the University of Oxford; Central St Martins sculpture; Kent Institute of Art and Design in

Trevor Flynn MA Fine Art Goldsmiths (London University) http://www.drawingatwork.co.uk/

Trevor Flynn teaches in Media Studies and Housing and Urbanism at the Architectural Association, and at Central St.Martins School of Art . He is director of Drawing At Work and holds honorariums at Virginia Commonwealth University and Rochester University U.S.A

Now” for Architects Journal, and illustrated several books including

established the Drawing Gymnasium as a resource for large architectural

clients include Foster and Partners, RSH-P and Expedition Engineering

Alex Kaiser AADip, RIBA II, BAarch (Hons)http://apkconcepts.wordpress.com

Alex Kaiser teaches Painting Architecture – A Media Studies course at the Architectural Association, London, where he teaches students in the art of architectural drawing and digital painting. He has also given workshops for units within the AA and D’Ecole Special d’Architecture in Paris and, through Drawing At Work, workshops for AHMM Architects, ORMS Architects, and RSHP. Following studies at the Oxford Brookes School of Architecture and the Architectural Association, Kaiser brought his design, modelling,

Rogers and Moxon Architects. In Kaiser’s recently co-founded studio he is currently researching trans-media methods for design through drawing and painting.

architecture and industrial design to beyond bio-mimetics.

unit 2 Ingrid Shroeder & Julika Gittner

AA Summer School 2011 STORIES FROM THE CITY Ingrid Schroder, Julika Gittner

BACKROOM BAUPROBE*

‘…architecture, attesting to the tastes and attitudes of generations, to public events and private tragedies, to new and old facts, is the fixed stage for human life.’ (Aldo Rossi) The architecture of the city is commonly understood as a backdrop to our lived experience. From news broadcasts to personal tragedies our stories inevitably occur in front of or next to some more or less intentionally chosen architectural scenery. Our Summer School unit will look at designing the city as a stage set that is not incidental but instrumental to the stories that unfold through and around it.

* BAUPROBE

The 'Bauprobe' is a 'build rehearsal' used in Central European theatre to test a stage design before it goes into production. A full scale mock up is set up on stage using substitute flats, rostra, cloths and furniture in order to find out if its spacing is adequate for the play. This practice is used to save money by avoiding costly adjustments to the finished set but it also marks the moment of the first meeting between the acted and the physical part of a story, both of which are then fine tuned and adjusted to each other.

BACKROOM

The moment we step into the back rooms of stories we exit the city stage, the scenery of chimney stacks and bill boards transforms into picture frames and window ledges. And yet the stories that unfold in the backstreets, backrooms and bedrooms are infinitely interlinked with the larger events that are taking place on an urban scale.

07.00 The mother gets up and goes to get breakfast in the KITCHEN 07.15 The child gets up and goes into the BATHROOM 07.30 The father gets up and goes into the BATHROOM 07.45 The father and the child have their breakfast in the KITCHEN … (Georges Perec)

We will construct a series of imagined stories from recorded snippets of London’s hidden narratives and expose these fictions to the city as a means of revealing a set of distilled urban situations. The project will take the form of a number of 1:1 mock-up constructions that will be placed in public spaces in London. The pieces become the portable and temporary settings for the public re-enactment of our narratives in the city. The displacement of these small scale fictions into the wider context of the city will begin to draw out unexpected connections, and shift the reading of these incidental moments of imagined everyday life into instructions for a new thematic infrastructure for London.

AA Summer School 2011 STORIES FROM THE CITY Ingrid Schroder, Julika Gittner

WEEK1

BODY of EVIDENCE

We will start our process in 4 areas across London. Each group of students will find a location and construct a series of imagined narratives of hidden every day life from recorded snippets of found situations. (A bump in the night… behind the wall the sound of muffled voices rising and falling in an uncomfortable rhythm. The man on the second floor comes in late and hoovers his flat even later). Through a series of models and artefacts we will construct a body of evidence that describes our fictive narrative and its actual setting. Our evidence will form a kit of parts for the recreation of this specific atmosphere that distils the physical character of the event/narrative (including sound, smell, touch as well as physical form). The story and its setting will then be transcribed using the ‘evidence’ and the scale model of the setting.

WEEK 2

MATRIX

With our events and settings in hand we will construct physical and thematic connections between our scale models to form a new set of axes through London. These will begin to suggest new connections across the city, and find points of similarity and conflict between our constructed narratives and their settings. Key moments from each of the group models will then be amalgamated by another group to form a new communal assemblage of settings. In a one-day event we will collaborate to create a series of alternative hybrids, distilling key moments from the models to discover and catalogue the set of possibilities and contradictions offered by this matrix of narratives.

WEEK 3

RE-SCRIPTING the CITY

Each group will build a hybrid setting at full scale. These mock-ups of a narrative situation reflect a series of found spaces in London and will be brought out into the city where they become the site for the public re-enactment of our fictional situations. The interaction between the relative intimacy of our fictions with the ‘real’ city will be re-transcribed, or ‘scripted’ for presentation at the AA for the final jury. The play of these objects and the documentation of the shifting narratives that have formed them will form a final body of evidence or encyclopaedia of the everyday.

AA Summer School 2011 STORIES FROM THE CITY Ingrid Schroder, Julika Gittner

Julika Gittner is an artist and an architect, educated at Goldsmiths College and the AA.

Julika is the first year studio master on the BA in Architecture at the University of Cambridge and teaches a theoretical course on the history of London’s architecture at Central Saint Martins.

Her design practice includes the commission of an interior design for the auditorium of the Palmach Museum in Tel Aviv (in collaboration with R.Segal and Z.Hecker) as well as the design of a mobile gallery space for a secondary school in East London. Her art works have been shown internationally and use sculpture, performance and video to investigate forms of artistic production and display outside the purpose built gallery space. Her project ‘Economic Units’ was shown as part of the Venice Bienale 2008 and she has recently completed a commission for the exhibition ‘Urban Visions’ at the Zedai Art Museum, Shanghai. She is also the curator of a number of exhibition projects which explore the social role of art and architecture including ‘The Stones of Menace’ (2010) which investigated artists’ as well as architects’ perspectives on New Brutalism and most recently a one day event at the Whitechapel Gallery ‘All that Glitters is NOT Institution’ (2010) that set out to test the institutional context of art and mental health.

Ingrid Schroder is an architect educated at Cambridge University and the LSE.

Ingrid is a first year studio tutor at the AA, and at the University of Cambridge where she is a Sir Isaac Newton Design Fellow and also runs a third year studio unit. She also teaches a course on American Urbanism at Cambridge.

Her research focuses on the relationship between monumental urban spaces and their lived experience. She is currently working on a thesis that explores how Washington DC was conceived as a physical manifestation of a political ideal. Her design research examines how tall buildings can form a new urban infrastructure and be adapted for reuse despite their scale and hermetic nature.

Ingrid has also worked in practice since 2000, running a series of award winning projects with 5th Studio architects.

unit 3 Lawrence Lek, Onur Ozkaya & Jesse Randzio

!!"#"$"!!!"!!#!$!%!&!'!(!(!'!&!#!)!$!!!*!#!&!+!!!,!!!-!.!/0!1

!"#"$"!"!"#"$"%"&"'"'"&"%"!"("#"""")"!"%"*"

!"#$%&'%(!%)(*(+&,$(+-)"."(*(/%00%(1"&2-34(

%"&"'"(")"*"+","

5&(67869(!4&24&(30(0":,$":%2;(<4&0:$"3&%2(=.(:>%(?$%%&(=%@:9(3:(>"0(=%'4A%(:>%(2%&0%0:('3:.(3&(:>%(#4$@29(#3:>(

3:0(%'4&4A.(24A3&":%2(=.(:>%(B$42,':34&(4C(3&C4$A":34&;(D>%(%EB"&034&(4C(:>%(F3$:,"@(%'4&4A.('4&:$"0:0(#3:>(

:>%(0B3$"@@3&?(2%'@3&%(4C(:>%(B>.03'"@(3&C$"0:$,':,$%(:>":("@@4#0(:>%('3:.(:4(@3F%;(((

1"AB"&:('"B3:"@30A(>"0(%&F%@4B%2(:>%(B,=@3'($%"@A9($%0,@:3&?(3&("('4AB@%:%(B$3F":30":34&(4C(,$="&(0B"'%;(

G4&%0(3&>"=3:%2(=.('4AA,:%$0("&2(B%2%0:$3"&0("$%(0":,$":%2(#3:>(0'$%%&0("&2(B$4H%':34&09(%&F%@4B3&?(

%F%$.(0,$C"'%(#3:>("2F%$:303&?;(I3:>(&4('>"&'%(4C(%EB"&23&?(4,:#"$2@.9(:>%('3:.("??$%?":%0(3&:%$&"@@.9(

'4&0,A3&?("@@(B,=@3'(0B"'%(#3:>3&;(!4&24&(?$4#09(=,:(:>%$%(30(&4#>%$%(:4(A%%:;((

(

-"*"+"'".""

D>%(J&3:!#3@@(2%F%@4B(:%AB4$"$.(03:%K0B%'3C3'(3&0:"@@":34&0(4C(B,=@3'(0B"'%0(:>":("22$%00(:>%(%F4@,:34&("&2(

4=04@%0'%&'%(4C(:>%('3:.;(L(@"&?,"?%(4C(?$4#:>("&2(2%'".(#3@@(=%(2%F%@4B%2(:>$4,?>("('4@@%':3F%(8M8(

3&0:"@@":34&("&2(@"$?%K0'"@%(A42%@0(2$"#&(C$4A(0:,23%0(4C(>.B%$"':3F3:.(#3:>3&(!4&24&(:42".;(N:,2%&:0(#3@@(

2%F%@4B(B$4:4:.B3&?(:%'>&3O,%0(:4("22$%00(:#4('4AB@%A%&:"$.($":%0(4C('>"&?%(P(:>%(#".(A":%$3"@0(

"??@4A%$":%(:4(C4$A("('3:.9("&2(:>%(#".(B%4B@%(3&:%$"':(23$%':@.(#3:>(:>%3$(%&F3$4&A%&:;((

5&("(:>4,0"&2(.%"$09(#>":%F%$(0%%A0(03?&3C3'"&:(:42".(#3@@(=%("(C"3&:(A%A4$.(4C('4@@%':3F%(',@:,$%;(Q.(

B$4H%':3&?(04(C"$(3&:4(:>%(C,:,$%9(230=%@3%C(#3@@(=%(0,0B%&2%2(@4&?(%&4,?>(C4$(0:,2%&:0(:4(%EB$%00(:>%3$(

3A"?3&":34&0(C,@@.;(D>%(,&3: 0(%EB@4$":34&0(#3@@("22$%00(:>$%%()%.(O,%0:34&0M((

"#!$%!&'()*+,(+-',!.*/,0!%1'!+)',,!2,,304!)12!2*..!*+0!%1'5!()&67,8!

5&("(C,:,$%(?4F%$&%2(=.(3AB%$A"&%&'%9(:>%(@"&?,"?%(4C("$'>3:%':,$%('>"&?%0(C$4A(%:%$&"@(%23C3'%(:4(

:%AB4$"$.(3&0:"@@":34&;(R4#('"&(3:("2"B:("&2(%F4@F%(:4(0,$F3F%S((

9#!:&6!;-<.*(!0;&(,0!<,!(',&+,=!2*+)!+),*'!126!1<01.,0(,6(,!*6!5*6=8(

D%AB4$"$.(,$="&30A(%A%$?%0(4,:(4C(4BB4$:,&30A9("'',A,@":34&("&2('>"&'%(3&:%$"':34&;(50(:>%$%("(

'>4$%4?$"B>%2(0%O,%&'%(4C("2"B:":34&(:>":(#3@@("@@4#(!4&24&(:4(:>$3F%(3&(6786S(!

>#!?12!(&6!0;,(-.&+*16!&<1-+!+),!=*0+&6+!%-+-',!*6%1'5!+),!;',0,6+8!

R4#(0>4,@2(:>30(=%(3AB@%A%&:%2(:42".S(

!

/"'"0"1","2"%"""3"""4"1")"%"'"%""

T%:>420("$%(0%O,%&'%2(3&(4$2%$(4C(0'"@%(:4(@%"2(,B(:4(:>%(8M8(3&0:"@@":34&;(U"'>(0:"?%(=%?3&0(#3:>("(

#4$)0>4B(:4(%E"A3&%(B$%'%2%&:0(C$4A("($"&?%(4C(C3%@20("&2(:4(3&:$42,'%(&%#(:44@0("&2(:%'>&3O,%0;((

(

@,,3!"A!B6CD&;;*67!+),!:*+E!F!"A9G!H!:1..&7,!

!"#$%&'()*+&#",#+-&#.(+(/&0#+-&#%/&$&,+#1($+#2&#$+(34&35#

N:,2%&:0(#3@@(0:,2.(B43&:0(4C(0":,$":34&("&2(4F%$'$4#23&?(

#3:>3&(!4&24&(:4(B$42,'%(8MVW(0:,2.(A42%@0;(D>%0%(#3@@(

C4$A("(:>$%%K23A%&034&"@(A"B(4C(>4#(:>%(B,=@3'(3&:%$"':0(

#3:>(:>%('3:.X(B,=@3'(0B"'%(#3@@(=%(2%0'$3=%2("0("&(

"??@4A%$":34&(4C(&%:#4$)09(=4,&2"$.('4&23:34&09("&2(

'3$',@":4$.(0.0:%A0;(5&("223:34&9(0:,2%&:0(#3@@('":"@4?,%(

:>%('3:.9(0:,2.3&?(3:("0("(@"&20'"B%(4C(A":%$3"@0("&2(

:%E:,$%0;(D>$4,?>(:>30(A"BB3&?9(:>%(,&3:(#3@@(0B%',@":%(4&(

:>%(3&:%&03:.(4C(!4&24&(3&(6786;(

#

#

#

#

#

#

#

#

#

#

6+(34&$7#8"))*9&#84+:#;#<&+*2")4$+#=)*,#."/#!">:"#?#!*,9&#

!!"#"$"!!!"!!#!$!%!&!'!(!(!'!&!#!)!$!!!*!#!&!+!!!,!!!-!.!/0!1

!""#$%&$'()*+$,(-.-./0"$1$2&23$

!"#$%&'()*+%&#*,'#-"))./.0.*.')#"1#1$*$('#*'2,%"0"345##

2"%*'6-"(+(4#-("*"*4-.%3#*'2,%.7$')#),"$0&#/'#'8-0"('&9#!

!"#$%&'()*+,-$).%(()/-/,0/)1",+20")%31/3$/)

/45/,%-/31'1%+36)$5/&2('1%+36)'37)'3'(#$%$8)93)(%3/).%1")

2,:'3)/45(+,'1%+3$)+*)0,+.1")'37)7/&'#6)1"/);3%1).%(()

&+372&1)-'1/,%'().+,<$"+5$)%3)'&&2-2('1%=/)'55,+'&"/$)

1+)*+,-)>&'$1%306)./'=%306)1/$$/(('1%306)?+%31%306)0,+.1"@6)

'37)$2:1,'&1%=/)'55,+'&"/$)1+)$5'&/)>&211%306)*+,-%306)

,/-+=%306)/4&'='1%306)7/&'#@8))

A%0%1'()1++($).%(():/)%31,+72&/76):21)1"/)*+&2$).%(():/)+3)

237/,$1'37%30)"+.)1+).+,<).%1")-'1/,%'($)7%,/&1(#8)B"%$)

<3+.(/70/)+*)&+31/-5+,',#)1/&"3%C2/$).%(()'((+.)$127/31$)

1+)%-'0%3/)"+.)')7+D%1D#+2,$/(*)'55,+'&")1+)*':,%&'1%+3)

-%0"1)7/=/(+5)%3)*212,/8)

)

#

#

#

#

#

#

#

#

#

#

#

#

#

:*$&.');#!+&+),.#<+=+6+*+#>+/"?'@##

A#B."0"3.2+0#)4)*'6)#"1#3("=*,#+%&#&'2+4#

)

!""#$4&$5+6.*77*.8-+$1$2&2$

!"#'8-'(.'%2'#*,'#1$*$('5#.*#),"$0&#/'#/$.0*#.%#*,'#-(')'%*9#

B"/)$127/31$).%(()7/=/(+5)')EFE)$&'(/)%3$1'(('1%+3)1+)&,/'1/)

')52:(%&)$5'&/)7,'.3)*,+-)1"/%,)=%$%+3)+*)G+37+3)%3)HIEH8)

B"/)23%1).%(()%31/0,'1/)$127%/$)+*)5,/$/31D7'#)G+37+3).%1")

1,'3$*+,-'1%=/)-'1/,%'()$#$1/-$6)1+)&,/'1/)'3)%3$1'(('1%+3)

1"'1)5,+=%7/$)')*+&2$)+*)-'4%-2-)%31/3$%1#)'37)1"/3)

7%$'55/',$).%1"+21)')1,'&/8)J+1%+3$)+*)%-5/,-'3/3&/)'37)

'7'51'1%+3).%(():/)'77,/$$/7)%3)1"/)5"'$/7)&+3$1,2&1%+3)

'37),/-+='()+*)1"/)$1,2&12,/>$@8))

B"/)$2,,/'()&+31,'$1):/1.//3)'3)%-'0%3/7)*212,/)'37)1"/)

5,/$/31),/'(%1#).%(():/),/&+,7/7)1",+20")1%-/D('5$/)

5"+1+0,'5"#8)B"%$)1/-5+,',#)%31/,$/&1%+3):/1.//3)

5,/$/31)'37)*212,/).%(()/3':(/)1"/)$127/31$)1+)%-'0%3/)

"+.)')&%1#)&'3)/4%$1)'$)'3)'00,/0'1%+3)+*)%3$1'(('1%+3$8)

!

!

!

!

!

!

!

!!

!

!

):*$&.');#C'(D/+$#E<$(*#:2,=.**'()#>+/"?'@)

FGHI!#J"00'2*.?'#>*"-#.6+3'5#K3#L@#

)

)

!"#"$"%"&"'"&"(""")"*"+",")"-"#".""

$

K5/&2('1%+3)':+21)1"/)*212,/)'((+.$)2$)1+)$//)1"/)+55+,123%1%/$).%1"%3)1"/)5,/$/318)B"/);3%1)'77,/$$/$)1"/)

&2,,/31),/&/$$%+3)'37)('&<)+*)3/.)52:(%&)$5'&/)%3)G+37+3)1",+20")7%,/&1)%31/,=/31%+3)'37):#)*+&2$%30)+3)1"/)

2,:'3)%3$1'(('1%+38)B"/)5,+?/&1$)+*)1"/)!',%$D:'$/7)LMNOB)&+((/&1%=/)$2&")'$)1"/) A'($1+3)P%37-%(( )'37)

K+21".',<)G%7+ )$"+.)1"/)5+1/31%'()+*)1"%$)'55,+'&"8)

Q#)%3$1'((%30)')*,'0-/31)+*)1"/)*212,/)%3)1"/)&%1#)+*)1+7'#6)$127/31$).%(()(/',3)"+.)1+).+,<)1+0/1"/,)1+),/&+3&%(/)

1"/+,/1%&'()'0/37'$).%1")1"/)5,'&1%&/)+*)-'<%308)B"/$/)%$$2/$).%(():/)'77,/$$/7F)

$

29! '()*+$:".*)-786;F) R'55%30)'37)1,'3$('1%30)1"/)*23&1%+3%30)+*)1"/)S%1#8$

%9! <8;"6=*7"F) ) G/',3%30)':+21)1"/)(%*/D&#&(/)+*)1"/)&%1#)'37)+*)',1/*'&1$).%1"%3)%18$

49! :*."(8*7$>=*7"6&$$ G/',3%30)':+21)1"/)(%-%1'1%+3$)+*)-+=%30):/1.//3)$&'(/$8$

?9! @-77"=.8A"$0(-="66&$$ B"/)&+((/&1%=/)%-'0%3'1%+3)+*)1"/)23%1).%(()7/1/,-%3/)%1$).+,<8$

T8! B5C$D..8.EF"F)) ) U+.)1+)2$/)(%-%1'1%+3$)+*)$5'&/6)$&'(/6)'37)1%-/)'$)')&,/'1%=/)+55+,123%1#8)

V8! ,(-.-./08+GF)) ) U+.)1+)'7'51):+1")$+5"%$1%&'1/7)'37)5,%-%1%=/)7/$%03)1/&"3%C2/$8)

)

B"/)23%1)5,+=%7/$)')-//1%30)5+%31):/1.//3)%31/,7%$&%5(%3',#)5,'&1%&/$8)P"%(/)*%3'3&%'()(%-%1'1%+3$)"'=/)*+,&/7)

-'3#)',&"%1/&1$)1+)&+3*%3/)1"/%,)/45/,%-/31'().+,<)1+)0'((/,%/$6)-'3#)',1%$1$)',/)$//<%30)1+)/$&'5/)1"/)

&+3*%3/$)+*)1"/)."%1/):+4):#)7%,/&1(#)/30'0%30).%1")1"/)&%1#)+21$%7/8)B"/)K2--/,)K&"++().+,<$"+5$)'37)

$/-%3',$).%(()'((+.)1"/)23%1)1+)7%$&2$$)1"/).+,<).%1")',1%$1$6)',&"%1/&1$6)'37)&,%1%&$)%3=+(=/7)%3)1"/)*%/(78)B"/)

.+,<).%(():/)7+&2-/31/7)1",+20")=%7/+6)7,'.%30$6)1/416)'37)1"/)$"',%30)+*)7%0%1'()-+7/($8)B"%$),/$/',&").%(()

:/)&+--23%&'1/7)+3(%3/)1",+20")'3)+5/3D$+2,&/)./:$%1/8)

!!"#"$"!!!"!!#!$!%!&!'!(!(!'!&!#!)!$!!!*!#!&!+!!!,!!!-!.!/0!.

!"#"$"%"

!

"#$%&'(&!"&)!"#$"%&'()'*+!"$$,-./" " " " " "

"

0001/'023(43/351467"

/'023(431/35897'-/1467"

"

:'023(43"-;"'("'2)-;)"0<6;3"-(;)'//')-6(;"=;3".<>;-4'/"'(?"@-2)='/"73?-'")6"3A'7-(3")<3"23/')-6(;<-."*3)033("

(')=2'/"'(?"'2)-B-4-'/"B627;1"C3")2'-(3?"')"&'7*2-?93"'(?")<3"$$1"C3"-;"4=223()/>"0625-(9"6("'("-(;)'//')-6("')"

&6/?"C'2*6=2"D'//32>!-("E2-A)6(!"'(?"'("-()32'4)-@3";6=(?"'(?".26F34)-6(".26F34)"')")<3"G=;;-'("&/=*"H)=?-6;"

-(",'/;)6(1"I("JKLLMLJ"<3"0-//"*3"'))3(?-(9")<3"&66.32"N(-6( ;"(30".6;)92'?=')3"23;3'24<".2692'773")6"

?3@3/6."$G1*623'/!"'("-(<'*-)'*/3";4=/.)=23")<')"9260;"'4462?-(9")6"6(/-(3"-()32'4)-6(1"C-;".26F34);"0323"

B3')=23?"-(")<3"-('=9=2'/"-;;=3"6B")<3""#$%&!'&($&)!")<3"NO ;"B-2;)"4260?MB=(?3?"'2);"F6=2('/"'(?"<-;"@-?36"

'(?";6=(?"'2)".26F34);"<'@3"*33(".32B6273?"')")<3"I&$!")<3"G-4<"#-A"4-(37'!"'(?")<3"G6=(?<6=;31""

"

C3"<';".23@-6=;/>"06253?"0-)<"&<'2/3;"P';<-7'!"O3("Q3'(9"'(?"R6;)32"S"T'2)(32;!"'(?"0';"/3'?"?3;-9(32"

B62"'";32-3;"6B"-(B/')'*/3")3(;-/3"4'(6.-3;"B62"'"LUKB)"4'2*6(MB-*23"2'4-(9">'4<)"0-)<"O-)3MG3/')3?",3;-9(1"C3"

<';")'=9<)"'24<-)34)=23"'(?"?3;-9("6("'".'2)M)-73"*';-;";-(43"JKKV"'(?"0';"@-;-)-(9"42-)-4"B62")<3"JKLK"$$"

H=7732#'53"0625;<6."-("C6653"T'251"

!

*'+%!*,)#-#!"ER$!"#H4"%$$+!"#&H," " " " " "

"

00016(=2M6W5'>'1461=5"

6(=2M6W5'>'8<6)7'-/1467"

"

X(=2"92'?=')3?"B267"$$"Y7P34<".2692'773"-("JKKZ"'B)32";)=?>-(9"I()32-62"$24<-)34)=23"["Y(@-26(73()'/"

,3;-9("')"E-/53()"N(-@32;-)>!"P=253>1"C3"-;"4=223()/>")3'4<-(9"I()32'4)-@3"I()32-62",3;-9("')":6(?6("

#3)26.6/-)'("N(-@32;-)>"'(?"')")<3"$732-4'("I()3246()-(3()'/"N(-@32;-)>!"'(?"-;"'"@-;-)-(9")=)62"B62";346(?">3'2"

$24<-)34)=23";)=?3();"')")<3"N(-@32;-)>"6B"\6))-(9<'71"C3"-;"46//'*62')-(9"0-)<";3@32'/":6(?6("'(?"I;)'(*=/"

*';3?"'24<-)34)=2'/".2'4)-43;"6("B'*2-4')-6("'(?"-(?=;)2-'/"?3;-9(";6/=)-6(;1""

"

C3"0';"0-)<")<3"H.34-'/-;)"#6?3/-(9"D26=."')"R6;)32"S"T'2)(32;"B267"JKKZ")6"JKK]!";.34-'/-W-(9"-("

.26)6)>.-(9"'(?"7'(=B'4)=2-(9";6/=)-6(;1"E3)033("H3.)37*32"JKK]"'(?"^'(='2>"JKLL"<3")'=9<)"E$%C6(;+"

I()32-62"$24<-)34)=23"'(?"#6?3/"#'5-(9"46=2;3;"')")<3"$2);"N(-@32;-)>"&6//393"')"E6=2(376=)<1"C-;"0625"<';"

*33(".=*/-;<3?"'(?"3A<-*-)3?"';"'"0-((-(9"3()2>"B62")<3"D233("G667"&67.3)-)-6("')"P65>6",3;-9("_335"-("

JKK]1"

"

.&//&!0#'1,23!"E$"%C6(;+!"$$,-./" " " " " "

"

0001F3;;32'(?W-61467"

F12'(?W-6897'-/1467"

"

^3;;3";)=?-3?"')")<3"$$!"0<323"<3";.3()"7=4<"6B"<-;")-73"')"C6653"T'25"0625-(9"0-)<")-7*32!";)33/!"

46(423)3!"26.3!"'(?";)33/"4'*/31""C3"<';"*33("-(@6/@3?"0-)<")<3"?3;-9("'(?"46(;)2=4)-6("6B")<3"B-2;)")<233"

'??-)-6(;")6")<3"C6653"T'25"'24<-)34)=23"46//34)-6(";-(43")<3".26.32)>"<';"*33("-("$$"<'(?;"%H=7732"

T'@-/-6("K`!"&26;;-(9;"E2-?93!"$"H3.'2')3"T/'43+!"'(?"06253?"B62")<233">3'2;"';"_625;<6."$;;-;)'()"')")<3"

$$1"C3"4=223()/>"?3;-9(;"'(?"*=-/?;"?33."3(329>"23(6@')-6(;"6B"6/?"<6=;-(9";)645"-("$732-4'!"'(?"-;"

G3;-?3()"P=)62"B62"$$"H=7732#'53"')"C6653"T'251"

"

E3B623"467-(9")6")<3"$$!"^3;;3"06253?"B62"J">3'2;"')"E=7.W6-?!"'";7'//"'24<-)34)=2'/".2'4)-43"-(")<3"_3;)"

a-//'93!"\Q&1"E3B623")<')!"<3"3'2(3?"'"E$"0-)<"<6(62;"-("Y(9/-;<"B267"&6/*>"&6//393"-("_')32@-//3!"#'-(3!"

NH$1"P<26=9<6=)"<-;"B6=2">3'2;"')"&6/*>"<3"06253?"-(")<3")<3')23";43(3";<6."';"H<6."$;;-;)'()!"?3;-9(-(9"

'(?"*=-/?-(9";)'93";3);!"'(?"';"P3'4<-(9"$;;-;)'()!";=.32@-;-(9";3)"?3;-9("'(?"46(;)2=4)-6("46=2;3;1""C3"

<';")'=9<)"'B)32";4<66/"'(?";=7732"@'4')-6(")<3')23"0625;<6.;"B62"3/373()'2>";4<66/"4<-/?23(1"C-;"0625"

<';"*33("3A<-*-)3?"-("O6;<-2'5=2'!":6(?6(!"#-((3'.6/-;!"'(?"P65>61"

"

"

unit 4 Nacho Martin & Manuel Collado

Amazing STORIES FROM THE CITY An AA Summer Architecture School SOCIAL FANTASY

In many cases, mainly associated with moments

of crisis -economic, political, environmental-,

the society needs of other rules to understand,

express and construct its reality.

At certain historical moments, alternative

forms of narration have been more effective

than a seemingly more realistic format. The

boom of the sci-fi novel and films during the

50´ and 60´ were the best means of expression

of a reality threatened by the effects of wars

and their feared impact on the environment. In

Latin America, Magical Realism, in literature,

was a way to dream a possible reality, beyond

the stagnation of economic and political

realities. Fear of natural disasters has

produced, in the imagination of science

fiction, new relations of humans with nature.

But the genre of fiction works not only to

register a dystopian present, but is of extreme

ability to advance future. From the novels by

Jules Verne to the stories by Arthur C. Clarke

became priceless references to the development

of technology and science.

The architectural practice was not alien to it.

Some projects supported in the form of fiction,

comics and POP culture have now become

paradigmatic examples of architecture -

Archigram, Superstudio, OMA...

Magical realism is questioned What Happens When

a Highly Detailed, realistic setting is Invaded

by something ´too strange to believe´. We

trust in the power of fantasy to construct

possible realities in architecture. In its

power to transform the city. We rely on the

development of new design tools based on

dreams, fantasies and illusions, as powerful

engines of social processes and for the

construction of collective recognition

environments.

WORKSHOP. General ideas.

IMAGINE A NEW LONDON. What new urban situations

are possible? What does not work in the city?,

What conditions should be reported as citizens

and as architects? What the city hopes in the

future?

FIND REFERENCES BEYOND ARCHITECTURE. The sci-fi

books, comics, films are waiting to be used.

But too, POP music, graffities, cartoons...

DESIGN THE SCENARIOS. Use the technique of

sketches, collage, 3D, models... to design new

urban situations.

BUILD A STORY. The architecture is capable of

telling stories. Write a fantastic script.

MAKE A COMIC!!!

* All the images are projects by Mi5 Architects and have been published in ICON magazine and the book Architects´ sketchbooks.

SCHEDULE.

THE SCRIPT: Field research and story development. Collect data (1) on possible London scenarios.

Analyze, from a fantastic perspective (2), emerging conflicts in the city from a social, political, ecological and urban point of view.

Collection of data should be both analogue and digital, which means taking into account a variety of media like video recording, photo or hand drawings between others.

Information collected will be shaped as an amazing story format (3) that will be used as an architectural tool.

THE SCENARIOS: Defining spaces. The analysis of the battlefields will derive in a first view of mutated architectures (4) such as new buildings, public spaces or urban landscapes.

The purpose of these new architectural scenarios will be to rebuild the current reality into new urban opportunities.

In order to make this phase tangible we will use a wide variety of media such as photomontages, collages, 3D models or drawings (5).

THE COMIC: making it real.

Finally, to materialize these new scenarios based on mutated architectures, it will be necessary to create a fictional narrative through a unique storyboard 6.

Images will be edited either in a digital or analogue way and produced as a real and fantastic comic booklet 7.

ORGANIZATION & FORMAT. The unit will be split in teams of 3 or 4 people.

Each team will produce one comic.

All of them will be published together in one

graphic book entitled Amazing Stories from the City.

TUTORS.

Nacho Martin and Manuel Collado. Principals of Mi5 Architects.

REFERENCES: ARCHICOMICS & FANTASTIC VISIONS.

Bruno Taut

Archigram

Archizoom

Haus Rucker-Co

Superstudio

OMA Rem Koolhaas

BIG Bjarke Ingels

Mi5 Architects

MI5´s profile was conceived since the turn of the century as a suggestive and innovative practice midway between construction and research.

Our work focuses on the search of alternative and not very explored public management strategies, exploiting fantasy as a powerful, dynamic motor of social processes.

Interested in participating in the construction of the signs of our era, we conceive our projects as the erection of identities of collective recognition, capable of redefining and strengthening the geographical and human territory where they stand.

We work with the efficiency of our projects´ communication strategies as a proposal which will intensify their social viability. Our work method is supported by proactive policies, with very personalized relationship protocols for each user and his environment.

One of the missions of the projects, conferences, essays and teaching undertaken by the studio during the last years, has been rethinking concepts such as Public, Youth, Outskirts, Fashion, Technology...

CV

Mi5 is a team of Nacho Martin and Manuel Collado since 1999 which focuses on researching unexplored projectual strategies, our work have been recognize, awarded and published on several ocassions.

We are invited to: VII Venice Architecture Biennale, Europe VI Burgos, Liege and MOPU, COAM Recent Work Foundation, FRESHMADRID COAM Foundation, Madrid Social Housing RIBA (London), 100% Crude COAM Foundation, Building Dwelling Thinking IVAM ... They have been teaching in Architectural Polytechnic Universities of Alicante, Alcala de Henares and Camilo Jose Cela, Fashion Design at the European Institute of Design (IED Madrid) and Visiting Member at the Architectural Association in London, in addition to having participated in several workshops, juries and lectures.

www.mi5arquitectos.com

Mi5 arquitectos. Nacho Martin & Manuel Collado. c/ Zurbano 47 4º Izq. 28009 Madrid (SPAIN).

T.: +34 913196079. F.: +34 913194661. em.: estudio@mi5arquitectos.com

unit 5 Olga Felip Ordis, Albert Serra Juanola,

Irene Solà, Jaume Farrés, Catarina Brito

Unit Title ......................................................................................................................

CITIES FROM THE STORY 1|3 ......................................................................................................................

Brief ...................................................................................................................... Society today has increased its interest and access to art and architecture and these two have

acquired a new place in human activity and in social communication.

We are confronted with a world where extroversion and introversion of each individual coexist. Where the barrier between public and private, global and local, exhibitionism and intimacy are

blurred.

We fail to deal with this issue properly. We are limited to our ties with the past. Like Friedrich Nietzsche said, language is our obstacle.

In the 19th century PANORAMAS were 100m long and 20m high paintings which pictured cities and landscapes. They were displayed on a circular wall and filled the observer’s field of vision,

making the experience as close to 'real' as possible.

Panoramas announced the birth of cinema: a new technique to reproduce reality. It took time for them to become a form of art, until then it had been limited to paintings.

Later on, when steel first started being used in construction it was used in the same

architectural language as stone. It took time for steel to truly become an integral element of architecture.

Today, as stated above, we live in a paradox world where we have access to all the information wanted but don’t have the time to assimilate it. We have a free and open social net and at the

same time we are more isolated than ever.

As we see in this portrait by Steven Klein, a society absorbed in itself.

Art and architecture are no longer homogeny and rigid. They can no longer be a question mainly focused on language.

We chose Italo Calvino’s Invisible Cities as our point of entry into the subject. Taking London as

a stage for life, we are going to analyse it and find elements that will turn into stories. We will start in the public realm and end in an individual perception, an invisible city.

‘(...) seek and learn to recognize who and what, in the midst of the inferno [the crumbling city destined to fall apart], are not inferno, then make them

endure, give them space.’ Invisible Cities, Hidden Cities 5

Calvino once said ‘we are approaching a crisis of urban life, and the Invisible Cities are a dream

that springs from the heart of invisible cities’. What he was predicting then, in 1983, the deterioration of urban quality of life, is today’s reality.

Polo enlightens the emperor into seeing subtleties that had until then been overlooked,

shadowing the alternative happy reality of Kahn’s cities. Likewise, through stories we are going to transport the public of London to new perspectives of the city, make them dream and form

their own stories.

The book is divided into 55 short descriptions of each city. What we propose is to select a few and give each student the opportunity to chose a city description which he will then read and

gather images, texts, photos, quotes, songs, sketches, anything that will contribute to the formation of the idea of his allocated city.

The next step will consist in examining how this city, which can be an alternative reality to any

city, can be projected on London. It will be interesting to analyze how the barrier between public-private and social-individual will be dealt.

After that, the production of the final work commences.

Back in the end of the 19th century movies enabled the public to be taken to new fascinating

worlds and new realities with the animated fiction.

We will project invisible cities on London, this becoming the final outcome of the workshop. ......................................................................................................................

Unit Title ......................................................................................................................

CITIES FROM THE STORY 2|3 ......................................................................................................................

Schedule ......................................................................................................................

To reinterpret the 19th century panoramas from London and from today

To overlap imagination and reality offering new views of the city

These new views - fragments of the subjective overlapping- will shape the London’s 2011 Panorama

......................................................................................................................

Week 1|3

During the first week, we will work on the text and we will do some talks and research about the 19th century Panoramas.

27.06.2011 introductions & presentations

28.06.2011 work on the text and set the basis of the project

29.06.2011 each of us will work on a chosen text fragment

30.06.2011 internal review:

each of us will present conceptual work –drawings, photos, films, models…-

related to a concept of city evoked by the text

01.07.2011 we will start working on the concept of Panorama

......................................................................................................................

Week 2|3

During the second week, each of us will analyze London from our own conceptual point of view and start developing material to represent the city in

these terms. At the same time the whole group will go on working on the design of the

Panorama, understanding it as the support of all the individual works.

04.07.2011 internal review:

each of us will present conceptual work – drawings, photos, films, models…-

related to the concept of Panorama

05.07.2011 INTERIM REVIEW

06 to 09.07.2011 further develop Panorama –technically- and its content –visions of London-

......................................................................................................................

Week 3|3

During the third week, we will focus on producing the final output: the Panorama and its content.

11 to 14.07.2011 production the panorama and its content

15.07.2011 FINAL REVIEW

Visit and party in London’s 2011 Panorama

......................................................................................................................

Unit Title ......................................................................................................................

CITIES FROM THE STORY 3|3 ......................................................................................................................

Teaching Team ......................................................................................................................

Olga Felip Ordis | tutor

(80) Girona | Spain

OLGA FELIP is an architect and partner of ARQUITECTURIA BA in Architecture | Universitat Politècnica de Catalunya

Diploma Advanced Studies in Theory and History of Architecture | UPC

........................................................................................................................................................

Albert Serra Juanola | tutor

(75) Banyoles | Spain

ALBERT SERRA is a Barcelona based film director, producer and writer BA in Spanish Philosophy and History of Art | University of Barcelona

PhD in Literary Theory and Comparative Literature | University of Barcelona

........................................................................................................................................................

Irene Solà | teaching assistant

(83) Girona | Spain

BA in Architecture | Universitat Politècnica de Catalunya Exchange program | Hanyang University in Seoul | South Korea

Master Degree in Teaching Training | University of Girona ......................................................................

Jaume Farrés | teaching assistant

(87) Ripoll |Spain

Jaume is currently finalizing his architecture degree | University of Girona Workshop | London architect CJ Lim, ‘From Godzilla to Gotham’

Workshop | Portuguese architect Pancho Guedes ‘Malangatana Foundation’ ........................................................................

Catarina Brito | teaching assistant

(90) Lisbon | Portugal

Catarina is a University of Bath undergraduate Exchange program | Institut National des Sciences Appliquées | Strasbourg

......................................................................................................................

STORIES FROM THE CITY UNIT SELECTION FORM

Please write YOUR NAME in block letters below __________________________________ Write the NUMBER of your two first choice units below ________________________ _______________________ We try to ensure that all students are placed into their first choice units, but in some rare cases this might not be possible, so please also include below a second choice unit. _______________________