AAFY 1617 PRESENT & ARCHITECTURE 20160926...AAFY 1617 PRESENT & ARCHITECTURE 20160926 3 1. AAFY PROSPE TUS First Year at the AA is the initial exposure to the five-year study of architecture

AAFY 1617 PRESENT & ARCHITECTURE 20160926

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AA FIRST YEAR 2016-17 CONTENTS

1. AAFY PROSPECTUS ................................................................................................... 3

2. AAFY BRIEFS TIMELINE. PRESENT & ARCHITECTURE .................................................. 7

3. AAFY TERM 1 BRIEF 1. SPATIAL CONSTRUCTS ......................................................... 10

4. AAFY CALENDAR ..................................................................................................... 19

5. AAFY BIBLIOGRAPHY FOR TERM 1 .......................................................................... 30

6. AAFY CONSTRUCT YOUR LIBRARY: ARCHITECTURE AND BEYOND ........................... 31


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1. AAFY PROSPECTUS

First Year at the AA is the initial exposure to the five-year study of architecture

ending with the AA Diploma. The course immediately engages with the discipline as a

way of thinking that both affects and is affected by the wider context of the present

moment. The focus of First Year is to re-invent architecture’s enduring topics and

questions while simultaneously searching the current world for accidents and shifts

within the discipline.

The First Year is characterised by studio-based investigations that are developed

through thinking and making. The studio itself offers students a space where they

can step away from the conventional tools of education – their own desks and

laptops – in order to develop their thinking processes and ways of working. The work

we make is shared, discussed, pushed forward and moved to other settings –

between cities and countries, and in annexe to past architecture. We will use London

as an active laboratory to explore the different forces that reshape the city and the

different spatial constructs, thoughts and visions that emerge as a result. We will

also visit the works of architects, artists, writers, philosophers and scientists who

have questioned how we live by reimagining spatial conditions as social constructs

with programmatic, stylistic and temporal qualities. To understand the role of

alternative communication in architecture we will enter these novels, films, texts

works of art, drawings, spaces and essays.

Over the course of the year you will learn how to relate your experiences of

architecture to both the present and the imaginary. You will visually synthesise and

translate your ideas into a personal year-long portfolio of work, informed by various

modes of writing, designing and arguing. In the First Year, reacting matters more


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than planning, imagining comes before experimenting, and experiencing something

is not synonymous with browsing. While we collectively address ideas and questions,

how you ultimately choose to express an idea is open for you to independently test

and define. Workshops and Complementary Studies courses taken alongside the

First Year studio will offer multiple ways of exploring and translating your thoughts

into projects.

The First Year studio seeks students who express a curiosity in the present and who

possess both an affinity for thinking independently and the flexibility to

constructively engage with different thinkers and audiences. In the First Year we

reject embracing the past or future. Instead, the present is here to not just be lived

out but to be imagined and reinvented again.

Present & Architecture

‘The world fascinates me’ – Andy Warhol, 1964

‘…To much world…’ – Hito Steyerl, 2014

The present world is too dense to be left unexplored. At the same time it is too

dense to be constantly lived in. These opposing statements are at the heart of the

First Year ethos – in engaging with ideas from multiple angles, we maintain an open

approach. This ability to see not only one side of an idea but the bigger picture is an

essential skill that the course will embrace throughout the year. In paying attention

to the world in its present continuum, we will see how shifts and accidents crystallise

into social and spatial habits. Architects have a distinct way of thinking visually,

translating complex forces and information into new spatial inventions. An architect

is an improviser who has the ability to see beyond the present, and this essential skill

should constantly be honed and refreshed. This year we will pay attention to the

present and to architecture by searching and questioning our current ways of living

and modes of life


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Search – Forms of enquiry are essential to the work of the First Year. Rather than

seeking the answers to our questions, our work often generates even more

unknowns. This year we specifically ask: What are alternative ways of living? In

focusing on this topic we will investigate the emerging spatial constructs that are

symptomatic of our present moment. For us, searching means directly experiencing

our surroundings by seeing what is hidden or about to be revealed. We will not only

wander spaces, buildings, cities and territories but also engage with architecture as

the making of projects by visiting archives and collections.

Reinvent – Can we reinvent ways of living and ways of inhabiting our present? We

will start Term 2 by challenging architectural conventions of programming and

spatial relations. While spatial complexity and contradiction are still present in our

cities, they are layered between the complexity and contradiction of the inhabitants.

We belong to multiple territories and to multiple spatial conditions, alternating

between different forms of living and varied codes of behaviours and habits. We live

in between countries and urban sceneries, more than in between a city and its

outskirts. We will question the scale of spatial constructs by crossing cities and

landscapes – from London to Marfa, Texas and from Houston to Iceland.

Imagine – Do you know how to imagine the present? Towards the middle of the

academic year we will put forward positions that challenge how we communicate a

spatial construct. By learning from the work of photographers, writers, philosophers,

filmmakers, artists, and how they imagine and invent the present with their work,

we will imagine modes of life that can be shaped by unpredictable settings, while

embracing difficult searches and choices that are translated into work that speaks

and provokes unexpected thoughts. We will use forms of communication that are

enriched by different types of resolutions while imagining and constructing the

present.


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Programme Head

Monia De Marchi

Studio Master

Shany Barath

Pol Castello Esteve

John Ng

Studio Tutor

Alexandra Vougia

Visiting lecturers to be confirmed

Monia De Marchi is an architect and graduate of both the Istituto di Architettura di

Venezia and of the DRL at the AA School. She has been the programme head of the

First Year since 2011 while also running her own practice. She has taught at the AA

School since 2005 as a unit master in both the Intermediate and Diploma Schools.

Shany Barath is a founding partner of the architecture firm ShaGa Studio. She

studied at TU Delft and the AA School, where she teaches in the DRL graduate

programme and Media Studies department. She directs the Tel Aviv AA Visiting

School.

Pol Esteve is an architect who trained at ETSA Barcelona and at the AA School. He is

co-founder of the platform of architectural production GOIG. He currently teaches

both First Year Studio and History and Theories Studies at the AA School and is the

director of the Brussels Visiting School.

John Ng studied architecture at the University of Bath the AA School where he has

taught since 2011. He founded ELSEWHERE and practices architecture in London.

Alexandra Vougia studied architecture in Thessaloniki, Greece. She holds the MSc

AAD from Columbia University’s GSAPP and a PhD from the AA School. She has

worked as an architect in New York and Athens and has been teaching at the AA

School since 2012.


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2. AAFY BRIEFS TIMELINE. PRESENT & ARCHITECTURE

Term 1 (12 weeks): SEARCH: SPACE, HABITAT, SCALE of CITY, PROXIMITIES

o T1B1 (5 w): Search what is visible. SPATIAL CONSTRUCTS XX and XXI.

Format: 5 weeks, group of 2 tutors with groups of 4 students.

Criteria: How to search (direct search: original material). How

to study past references (theory and design of architecture).

How to document, quote, redraw with plans, sections, models.

How to compare different studies (XX and XXI). How to

synthesise information in portfolio. How to work in group

(collaborate, share work).

o T1B2 (6 w): Search what is hidden. ALTERNATIVE WAYS OF LIVING IN

PROXIMITIES NOW.

Format: 6 weeks, 1 tutor with 15 students in conversation with

another tutor.

Criteria: How to search (direct search: original material). How

to study texts and works from wider cultures (beyond

architecture). How to document, quote, redraw with plans,

sections, models. How to compare different studies. How to

communicate information with notations, diagrams, texts,

models, + other medium. How to synthesise information in a

portfolio. How to work independently with processes by

discussing and adapting works and positions.


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Term 2 (11 weeks): REINVENT: PROGRAMS, HABITAT, SCALE of TERRITORY,

EXTENSIONS

o T2B1 (3 w): Reinvent PROGRAMMING and SPATIAL RELATIONSHIPS.

Format: 3 week, group of 2 tutors with groups of 3/4 students.

Criteria: How to relate theoretical texts of space and program

with built spaces. How to search and document. How to

requestion and reinvent given material (program and space).

How to compare different studies (iterations). How to visualise

information with notations, diagrams, and models. How to

synthesise information in a portfolio. How to work in group

(collaborate, share work).

o T2B2 (6 w): What if … it could be happening. Reinvent COMPLEXITIES

OF LIVING CONDITIONS IN AN EXTENDED TERRITORY


another tutor or external.

Criteria: How to use context (physical site). How to relate

different types of given material (references from wider

cultures + site + space). How to translate material into a design

proposal. How to reinvent complex living conditions. How to

visualise information with multiple types of medium. How to

synthesise information in a portfolio. How to design a project

that answers the brief. How to work both independently and

in conversation within the group. How to construct a position

and an argument in relation to the brief.


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Term 3 (9 weeks): IMAGINE: SCENARIOS, MODES OF LIFE, ANY FORM OF

COMMUNICATION.

o T3B1 (4 w): What now… Imagine SCENARIOS OF MODES OF LIFE.


tutor or external.

Criteria: How to define individual values and criteria to

evaluate design decisions. How to relate and react to the brief.

How to select ways of visually communicating ideas (the work

speaks). How to challenge communication and visualisation of

a scenario. How to synthesise information in a portfolio. How

to work both independently and in conversation within the

group. How to use the work to construct a position in relation

to the brief (the work speaks).

o T3B2 (2 w): What now… Installation for PRESENT MODES OF LIFE.

Format: 2 weeks, 2 tutors with students in group.

Criteria: How to address constrains of a brief. How to find a

solution to a set of parameters. How to translate what you

imagine, search, and invent into something that can be built.

How to creatively compromise. How to work in a team.


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3. AAFY TERM 1 BRIEF 1. SPATIAL CONSTRUCTS


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TERM 1 BRIEF 1 (5 weeks: Week 1 to 5). SPATIAL CONSTRUCTS

T1B1 (5 w): Search what is visible. SPATIAL CONSTRUCTS XX and XXI.

1. Format: 5 weeks, group of 2 tutors with groups of 4 students.

2. Criteria: How to search (direct search: original material). How to study

past references (theory and design of architecture). How to document,

quote, redraw with plans, sections, models. How to compare different

studies (XX and XXI). How to synthesise information in portfolio. How to

work in group (collaborate, share work).

WHAT WE DO & WHY WE DO IT: The XX century is characterised by architects

thinking and reinventing new ideas about space by putting forward alternative ways

of searching. Where did architect search? How did they search? How did they

translate their discoveries into ideas and into spatial inventions?

The architects that we will study are some of the key figures in the architecture

discipline because of their ability to reinvent architectural concepts in relation to

their own present. Search is a project in itself: what do you look for, how do you

look, will define your own particular discoveries. Your challenge is to learn how to

search in unexpected manner, constructing your own way of looking is an essential

project that would allow you to update and reinvent architectural concepts against

your own present time.

With this initial brief, we will study and pay attention on how those architects

searched and how they translated their discoveries into three particular works: the

written text (manifestoes, texts, books), the unbuilt projects (paper projects,


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drawings, fictional speculations, notations, prototypes), and the built architecture

(buildings).

In parallel the HTS course will cover up some of those figures, texts, projects and

buildings.

We will then extend our search, by looking at our own present. We will look at our

own present, by focusing in particular on buildings built from 2001 until now that

show us particular spatial condition that are symptomatic of the way we live now.

Those case studies are not necessarily the result of specific written concepts by

architectures but they are more the result of an overlay of forces and settings that

are social, economical, and cultural.

HOW WE DO IT:

The briefs are structured into three parts:

Part 1 (week 1, 2): search, redraw, speculate - XX case study

Part 2 (week 3, 4): search, redraw - XXI case study

Part 3 (week 5): synthesise the information

Part 1 (week 1, 2): search, redraw, speculate - XX case study

For the first two weeks study a specific SPATIAL THEORY and see it applied to an

UNBUILT PROJECT and to a BUILT PROJECT.

With this brief, you are expected to learn how to search for material, how to

synthesise information that you find, and how to relate and connect ideas to spatial

forms.


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* For the text: study the text, where was it written? When? With who? Who were

the key figures? What is the context at that time? What were other key events of

that period? Can you find photos, films, documents that contextualise the text in

that specific moment and place? What was the physical and social context of that

time?

* For the unbuilt project: Find and list the sources. Where are the original drawings,

books, sketches, models? Can you go to see original drawings, collages, models in

libraries and archives? List the format of the original materials (drawings, collages,

…). How big are they? What are they made off? How long did it take to make them?

Where are they know? Where have they been until now? Where have they been

published and when? What are articles, and other works that are related? What is

the format and where are the originals? What was the physical and social context of

that time?

* For the built project: Find and list the sources. Where are the originals drawings,

models, photos, collages? Search online catalogues of libraries, museums, and

archives. Can you go to visit the building? What are your impressions? Can you

notate what you experience? Can you sketch and notate spatial qualities and

relations? If you cannot visit the building, can you search for films, videos, and see

the spatial relations? How is the building used now? What was the physical and

social context of that time?

T1 B1 Part 1 Jury: On Monday 10th October (week 3) you will submit your work as a

series of A1 landscape boards collecting in a descriptive manner: text, unbuilt project

and building. You tutors will give you a visual reference for you to follow.


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Within your A1 you will have: one redraw plan of the built case study, one redraw

section of the built case study, and one notation of the paper project (your tutors

will guide you on which type of notations could be more relevant).

It is important that the search and use of found material is done in an accurate and

precise manner with all the right quotes, notations, and information.

Each group of students will have one architect (or movement) to study given from

the following list – where T for Text, P for Unbuilt Project, B for Built Project:

01 ADOLF LOOS: Looking lifestyles in Vienna

T: Adolf Loos, “Ornament and Crime,” in Ornament and Crime: Selected Essays

(Riverside, CA: Ariadne Press, 1998), 167-176. [Originally written in 1908]

P: Adolf Loos, Chicago Tribune, competition entry (1922).

You will need to find the locations of the original material that is related to your case

studies: i.e. Original drawings at the Library of Congress Prints and Photographs

Division Washington, D.C. 20540 USA: http://www.loc.gov/pictures/item/2005680820/

B: Adolf Loos, Villa Müller, Prague (1929-30).

02 LE CORBUSIER: Looking at the present world (technologies, editing,

communication)

T: Le Corbusier and Pierre Jeanneret, “Five Points towards a New Architecture,” in

Programs and Manifestoes on 20th-century Architecture, ed. Ulrich Conrads (London:

Lund Humphries, 1970), 99-101. [Originally published in 1926]

P: Le Corbusier, Maison Dom-Ino (1914).

B: Le Corbusier, Villa La Roche-Jeanneret, Paris (1923).

http://www.loc.gov/pictures/item/2005680820/


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03 LE CORBUSIER: (Session 02 and 03 can be combined)

T: Le Corbusier, “Conclusions - Main Points of Doctrine,” in The Athens Charter (New

York, NY: Grossman Publishers, 1973), 91-105. [Originally produced in 1933 and

published by Le Corbusier in 1943]

P: Le Corbusier, Plan Obus, Algiers (1930).

B: Le Corbusier, Unité d'Habitation, Marseilles (1946-52).

04 TEAM 10: Looking at the present world (architect as collaborative practice)

T: Jacob Bakema, Aldo van Eyck, H. P. Daniel van Ginkel, Hans Hovens-Greve, Peter

Smithson and John Voelker, “Doorn Manifesto,” in Architecture culture, 1943-1968: a

documentary anthology, ed. Joan Ockman (New York, NY: Rizzoli, 1993), 181-183.

[Originally published in 1954]

P: Alison & Peter Smithson, “House of the Future” in Daily Mail’s Ideal Home

Exhibition (1956).

B: Alison & Peter Smithson, Robin Hood Gardens, London (1963-1972).

05 ROBERT VENTURI: Looking at built (history, Rome)

T: Robert Venturi, “Introduction” and “Nonstraightforward Architecture: a Gentle

Manifesto,” in Complexity and Contradiction in Architecture, 2nd ed. (New York, NY:

Museum of Modern Art; Boston, MA: distributed by New York Graphic Society,

1977), 9-12 and 16. [Originally published in 1966]

P: Robert Venturi and Denise Scott Brown, National College Football Hall of Fame

Competition (1967).


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B: Robert Venturi and John Rauch, Vanna Venturi House, Chestnut Hill, Pennsylvania

(1962).

06 CEDRIC PRICE: Looking at present as un-planned London

T: Cedric Price, Rayner Banham, Paul Barker and Peter Hall, “Non-Plan: an

Experiment in Freedom,” in Non-Plan: Essays on Freedom, Participation and Change

in Modern Architecture and Urbanism, ed. Jonathan Hughes and Simon Sadler

(London: Architectural Press, 2000), 13-21. [Originally published in New Society 338

(20 March 1969): 435-443]

P: Cedric Price, Fun Palace, London (1964).

B: Renzo Piano and Richard Rogers, Centre Georges Pompidou, Paris (1971-77).

07 REM KOOLHAAS: Looking at city (Berlin wall, New York skyscraper)

T: Rem Koolhaas, “Definitive Instability: The Downtown Athletic Club,” in Delirious

New York: a Retroactive Manifesto for Manhattan (New York, NY: Monacelli Press,

1994), 152-158. [Originally published in 1978]

P: Rem Koolhaas and Madelon Vriesendorp, The City of the Captive Globe Project,

New York (1972).

B: Office for Metropolitan Architecture, Kunsthal, Rotterdam (1987-92).


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Part 2 (week 3, 4): search, redraw - XXI case study

From Monday 10th October (week 3), we will look for SPATIAL CONSTRUCTS that are

symptomatic of the XXI century. Similar to the first searches, you will need to study

and redraw spatial qualities of one case study. Your tutor will select which case study

is more relevant as continuation to Part 1.

1. Smart city: Masdar City (2006-ongoing).

2. Corporate campus: Apple Campus 2 (2013-ongoing)

3. Tall Buildings & Transport Hubs: The Shard (2009-2012)

4. Geneva Freeport (http://www.nytimes.com/2012/07/22/business/swiss-

freeports-are-home-for-a-growing-treasury-of-art.html)

5. Data centre: Alcatel Lucent (https://www.amazon.co.uk/Kitten-Clone-Alcatel-

Lucent-Writers-Residence/dp/0956569285)

6. Foundation (fashion and culture): Louis Vuitton Foundation (2006-2014),

Fondazione Prada (2008 - ongoing)

7. Pied-a-terre (NY): ALEX look for article reference

8. Pencil tower: 432 Park Avenue (2011-2015)

9. Hotel for creative (user specific typologies): London

10. Defragmented factory between countries: Airbus in Toulouse

11. Large scale laboratory (particle accelerator)

12. Mega basements (London)

13. More to come

With this series of case studies, you will be searching and notating for spatial

relations between spaces, programs, and between the building and its context. You

http://www.nytimes.com/2012/07/22/business/swiss-freeports-are-home-for-a-growing-treasury-of-art.html

http://www.nytimes.com/2012/07/22/business/swiss-freeports-are-home-for-a-growing-treasury-of-art.html

https://www.amazon.co.uk/Kitten-Clone-Alcatel-Lucent-Writers-Residence/dp/0956569285

https://www.amazon.co.uk/Kitten-Clone-Alcatel-Lucent-Writers-Residence/dp/0956569285


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will be searching and notating key information that caused specific spatial qualities.

For some case studies there is the possibility that there are not available

architectural drawings, you will need to use than written information, photos, and

found material to speculate and notate on what you think the spaces may be. Your

tutor will guide you with some reference on how to translate information into

architectural notations.

On Monday 24th October (week 5) you will present to your tutors the work as a

series of A1.

Part 3 (week 5): synthesise the information

From Monday 24th October (week 5) to Monday 31st October (week 6), you will

think and plan on how to synthesise information into one A1 by showing

relationships and commonalities between part 1 and part 2.

Term 1 Brief 1 JURY: On Monday 31st October (week 6) show and present in 5

minutes your A1 synthesis. Bring also all your A1 from Part 1 and Part 2.

ESSENTAIL READING:

Study the readings, drawings and material given for each case study, search for more

independently.

Learn how to read and draw architectural drawings by studying the book: Zell, Mo.

The Architectural Drawing Course: Understand the Principles and Master the

Practices. London: Thames and Hudson, 2008. Search more in the library for books

on architectural representations and notations.


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4. AAFY CALENDAR

2016 – 2017 TERM DATES

INTRODUCTION WEEK: Monday 19th September to Friday 23rd September 2016

(All NEW students)

Term 1: 2016

Monday 26th September to Friday 16th December 2016 (12 Weeks)

Student Vacation: Saturday 17th December to Sunday 8th January inclusive

AA Premises Closed: Saturday 17th December to Monday 2nd January inclusive

Term 2: 2017

Monday 9th January to Friday 24th March 2017 (11 Weeks)

Student Vacation: Saturday 25th March to Sunday 23rd April inclusive

AA Premises Closed: Saturday 1st April to Monday 17th April inclusive

Good Friday: 14th April

Easter Monday: 17th April

Term 3: 2017

Monday 24th April to Friday 23rd June 2017 (9 Weeks)

Bank Holiday: Monday 1st May (Week 2) AA Premises Closed

Bank Holiday: Monday 29th May (Week 6) AA Premises Closed

Summer 2017

AA Premises Closed: Saturday 19th to Monday 28th August inclusive

Bank Holiday: Monday 28th August


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2016 – 2017 WEEKLY CALENDAR ACADEMIC YEAR COMMENCES

Introduction Week 2016 Monday 19th September to Friday 23rd September 2016

Monday 19th September Orientation for NEW students

Tuesday 20th September Registration for NEW students

Wednesday 21st September

Thursday 22nd September

Friday 23rd September Delivery of Undergraduate Programme Guides

(on-line)

Picnic for NEW students

TERM 1

Term 1 (12 Weeks) AUTUMN

Monday 26th September – Friday 16th December 2016

Term 1 WEEK 1 Monday 26th September to Friday 30th September 2016

Term 1 Brief 1 (1 of 5 weeks)

Monday 26th September 11.00-12.00, Introduction First Year Studio

12.00-13.30, Presentation Academic Year and Term 1

13.30-14.30, Lunch Break

14.30-15.30, Studio Induction

10.00-18.00, Diploma Presentations (all day)

Tuesday 27th September 10.00-18.00, Intermediate Presentations (all day)

Wednesday 28th September 15.00-16.00, Term 1 Brief 1 Presentation

Studio work

Thursday 29th September Studio work

Friday 30th September Complementary Studies Introductions/Registration:

12.30, Media Studies 1st Year

18.00, Exhibition Opening

Studio work

Term 1 WEEK 2 Monday 3rd October to Friday 7th October 2016


Term 1 Undergraduate Complementary Studies commence:

Monday 3rd October Studio work

Time TBC, Introduction to Technical Drawing

Workshop


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Tuesday 4th October HTS 1st Year (am: 1 of 7)

MS 1st Year (pm: 1 of 8)

Wednesday 5th October Studio work

Thursday 6th October TS 1st Year (am and pm: 1 of 7)

Friday 7th October Studio work

Term 1 WEEK 3 Monday 10th October to Friday 14th October 2016


Monday 10th October 14.00-14.30, Jury set up

14.30-16.30, Term 1 Brief 1 Silent Jury

16.30-15.00, Presentation Term 1 Brief 1 Part 2






Cedric Price Event

Term 1 WEEK 4 Monday 17th October to Friday 21st October 2016


Monday 17th October Director/Foundation & First Year Student Meeting

Studio work





Friday 21st October Foundation/First Year OPEN DAY

Portfolio presentation by former First Year students

Studio work

Term 1 WEEK 5 Monday 24th October to Friday 28th October 2016


Monday 24th October Studio work







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Term 1 WEEK 6 Monday 31st October to Friday 4th November 2016

OPEN WEEK – All Undergraduate & Graduate Classes Suspended

AA EVENTS / HOOKE PARK EVENTS

Monday 31st October 14.00-14.30, Jury set up

14.30-18.00, Term 1 Brief 1 Final Jury

Tuesday 1st November Open Week

Wednesday 2nd November Open Week

Thursday 3rd November Open Week

Friday 4th November UNDERGRADUATE OPEN JURY/ OPEN DAY

Term 1 WEEK 7 Monday 7th November to Friday 11th November 2016


Monday 7th November 14.30-17.00, Presentation Term 1 Brief 2

Digital Submission Term 1 Brief 1

Tuesday 8th November HTS 1st Year (am: 5 of 7)


Wednesday 9th November Studio work

Thursday 10th November TS 1st Year (am and pm: 5 of 7)

Friday 11th November Studio work

Term 1 WEEK 8 Monday 14th November to Friday 18th November 2016


Monday 14th November Studio work

Tuesday 15th November HTS 1st Year (am: 6 of 7)





Term 1 WEEK 9 Monday 21st November to Friday 25th November 2016


Term 1 Undergraduate Complementary Studies conclude (7 of 7)

Monday 21st November Studio work

Tuesday 22nd November HTS 1st Year (am: 7 of 7)


Wednesday 23rd November Studio work




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Term 1 WEEK 10 Monday 28th November to Friday 2nd December 2016


MS 1st Year concludes (8 of 8)

Monday 28th November Studio work

Tuesday 29th November MS 1st Year (pm: 8 of 8)


Thursday 1st December Studio work

Friday 2nd December 10.00-13.00, Term 1 Brief 2 Individual Juries

14.00-17.00, Term 1 Brief 2 Individual Juries

Term 1 WEEK 11 Monday 5th December to Friday 9th December 2016


By 1pm Friday 9th December Term 1 Undergraduate Submission Hand-In

Monday 5th December Studio work

Tuesday 6th December Studio work

Wednesday 7th December Studio work

Thursday 8th December Studio work

Friday 9th December By 1pm Term 1 Undergraduate Submission Hand-In

Term 1 WEEK 12 Monday 12th December to Friday 16th December 2016


Undergraduate School End of Term Juries

Monday12th December Studio work

Tuesday 13th December Studio work

Wednesday 14th December 10.00-11.00, Jury set up

11.00-16.00, Term 1 Brief 2 OVERALL Jury

16.00-17.00, Term 1 Brief 2 Debrief & end of Term 1

Thursday 15th December Studio work

Friday 16th December Digital Submission Term 1 Brief 2

End of Term 1 / Christmas Party

Student Holiday: Saturday 17th December 2016 to Sunday 8th January 2017 inclusive

AA Premises closed (actual): Saturday 17th December 2015 to Monday 2nd January 2017 inclusive

AA Premises re-open: Tuesday 3rd January 2017

Term 2 commences: Monday 9th January 2017


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TERM 2

Term 2 (11 Weeks) WINTER Monday 9th January – Friday 24th March 2017 Pre start of Term: Wednesday 4th January Term 2 Tuition Fee due Term 2 WEEK 1 Monday 9th January to Friday 13th January 2017 Term 2 Student Registration First Year Progress Reviews Return of Term 1 Complementary Studies Feedback Term 2 Brief 1 (1 of 3 weeks) Term 2 Undergraduate Complementary Studies commence: Monday 9th January Introduction Term 2 and Presentation Term 2 Brief 1 Tuesday 10th January HTS 1st Year (am: 1 of 7)

MS 1st Year (pm: 1 of 8) Wednesday 11th January First Year Progress Reviews Thursday 12th January TS 1st Year (am and pm: 1 of 7) Friday 13th January OPEN DAY Studio work Term 2 WEEK 2 Monday 16th January to Friday 20th January 2017 Term 2 Brief 1 (2 of 3 weeks) Monday 16th January Studio work Tuesday 17th January HTS 1st Year (am: 2 of 7)

MS 1st Year (pm: 2 of 8) Wednesday 18th January Studio work Thursday 19th January TS 1st Year (am and pm: 2 of 7) Friday 20th January Studio work Term 2 WEEK 3 Monday 23rd January to Friday 27th January 2017 Term 2 Brief 1 (3 of 3 weeks) Monday 23rd January Studio work Tuesday 24th January HTS 1st Year (am: 3 of 7)

MS 1st Year (pm: 3 of 8) Wednesday 25th January Studio work Thursday 26th January TS 1st Year (am and pm: 3 of 7) Friday 27th January Term 2 Brief 1 Jury Term 2 WEEK 4 Monday 30th January to Friday 3rd February 2017 Term 2 Brief 2 (1 of 6 weeks) Monday 30th January Presentation Term 2 Brief 2 Digital Submission Term 2 Brief 1


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Tuesday 31st January HTS 1st Year (am: 4 of 7) MS 1st Year (pm: 4 of 8)

Wednesday 1st February Studio work Thursday 2nd February TS 1st Year (am and pm: 4 of 7) Friday 3rd February Studio work Term 2 WEEK 5 Monday 6th February to Friday 10th February 2017 OPEN WEEK – All Graduate & Undergraduate Classes Suspended Term 2 Brief 2 (2 of 6 weeks) Monday 6th February Open Week Tuesday 7th February Open Week Wednesday 8th February Open Week Thursday 9th February Open Week Friday 10th February OPEN JURY Term 2 WEEK 6 Monday 13th February to Friday 17th February 2017 Term 2 Brief 2 (3 of 6 weeks) Monday 13th February Studio work Tuesday 14th February HTS 1st Year (am: 5 of 7)

MS 1st Year (pm: 5 of 8) Wednesday 15th February Studio work Thursday 16th February TS 1st Year (am and pm: 5 of 7) Friday 17th February Studio work Term 2 WEEK 7 Monday 20th February to Friday 24th February 2017 Term 2 Brief 2 (4 of 6 weeks) Monday 20th February Studio work Tuesday 21st February HTS 1st Year (am: 6 of 7)

MS 1st Year (pm: 6 of 8) Wednesday 22nd February Studio work Thursday 23rd February TS 1st Year (am and pm: 6 of 7) Friday 24th February Studio work Term 2 WEEK 8 Monday 27th February to Friday 3rd March 2017 Term 2 Brief 2 (5 of 6 weeks) Term 2 Undergraduate Complementary Studies conclude (7 of 7) Monday 27th February Studio work Tuesday 28th February HTS 1st Year (am: 7 of 7)

MS 1st Year (pm: 7 of 8) Wednesday 1st March Studio work Thursday 2nd March TS 1st Year (am and pm: 7 of 7) Friday 3rd March Studio work


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Term 2 WEEK 9 Monday 6th March to Friday 10th March 2017 Term 2 Brief 2 (6 of 6 weeks) MS 1st Year concludes (8 of 8) Monday 6th March AA BURSARY Applications Open Studio work Tuesday 7th March MS 1st Year (pm: 8 of 8) Wednesday 8th March Term 2 Brief 2 Individual Juries Thursday 9th March Friday 10th March Term 2 Brief 2 Final Jury Term 2 WEEK 10 Monday 13th March to Friday 17th March 2017 Term 2 Brief 2 (7 of 7 weeks) Wed 15th/Thurs 16th/Fri 17th March 1st Year Previews Monday 13th March Studio work Tuesday 14th March Studio work Wednesday 15th March 1st Year Previews Thursday 16th March 1st Year Previews Friday 17th March 1st Year Previews Term 2 WEEK 11 Monday 20th March to Friday 24th March 2017 By 1pm Thursday 23rd March Term 2 Undergraduate Submission Hand-In Monday 20th March Digital Submission Term 2 Brief 2 Tuesday 21st March Wednesday 22nd March Thursday 23rd March By 1pm Term 1 Undergraduate Submission Hand-In

Undergraduate School Student Survey opens Friday 24th March End of Term 2

Saturday 25th March – Wednesday 7th April STUDIO TRIP (destination TBC) Student Vacation: Saturday 25th March to Sunday 23rd April 2017 inclusive AA Premises closed (actual): Saturday 1st April to Tuesday 18th April 2017 inclusive (Good Friday: Friday 14th April 2017) (Easter Monday: Monday 17th April 2017) AA Premises re-open: Wednesday 19th April 2017 Term 3 commences: Monday 24th April 2017


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TERM 3

Term 3 (9 Weeks) SPRING Monday 24th April – Friday 23rd June 2017 Pre start of Term: Wednesday 19th April Term 3 Tuition Fee due No Complementary Studies on Term 3 Term 3 WEEK 1 Monday 24th April to Friday 28th April 2017 Term 3 Student Registration Return of Term 2 Complementary Studies Feedback Term 3 Brief 1 (1 of 4 weeks) Monday 24th April Introduction Term 3 and Presentation Term 3 Brief 1 Tuesday 25th April Studio work Wednesday 26th April Studio work Thursday 27th April Studio work Friday 28th April Studio work Term 3 WEEK 2 Tuesday 2nd May to Friday 5th May 2017 Term 3 Brief 1 (2 of 4 weeks) Monday 1st May Bank Holiday – AA Premises Closed Tuesday 2nd May MS High Pass Jury and Exhibition Studio work Wednesday 3rd May May AA HTS and Sharp Writing Prize Studio work Thursday 4th May Studio work Friday 5th May TS High Pass Exhibition

Studio work Term 3 WEEK 3 Monday 8th May to Friday 12th May 2017 Term 3 Brief 1 (3 of 4 weeks) Monday 8th May Studio work Tuesday 9th May Studio work Wednesday 10th May Studio work Thursday 11th May Studio work Friday 12th May Undergraduate School Student Survey closes

Individual Juries Term 3 WEEK 4 Monday 15th May to Friday 19th May 2017 Undergraduate School Jury Fortnight: (Week 1 / showcasing 3 juries per day) Term 3 Brief 1 (4 of 4 weeks) Monday 15th May Individual Juries


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Tuesday 16th May Studio work Wednesday 17th May Studio work Thursday 18th May Studio work Friday 19th May AA BURSARY Applications Close Term 3 Brief 1 Final Jury Term 3 WEEK 5 Monday 22nd May to Friday 26th May 2017 Undergraduate School Jury Fortnight: (Week 2 / showcasing 3 juries per day) Term 3 Brief 2 (1 of 2 weeks) Monday 22nd May Presentation Term 3 Brief 2

Digital submission Term 3 Brief 1 Tuesday 23rd May Studio work Wednesday 24th May Studio work Thursday 25th May Studio work Friday 26th May Studio work Term 3 WEEK 6 Tuesday 30th May to Friday 2nd June 2017 Term 3 Brief 2 (2 of 2 weeks) Monday 29th May Bank Holiday – AA Premises Closed Tuesday 30th May Studio work Wednesday 31st May Term 2 Brief 2 Jury Thursday 1st June Studio work Friday 2nd June Digital submission Term 3 Brief 2 Term 3 WEEK 7 Monday 5th June to Friday 9th June 2017 Wed 7th/Thurs 8th/ Fri 9th June 1st Year End of Year Reviews Monday 5th June Studio work Tuesday 6th June Studio work Wednesday 7th June 1st Year End of Year Reviews Thursday 8th June 1st Year End of Year Reviews Friday 26th June 1st Year End of Year Reviews Term 3 WEEK 8 Monday 12th June to Friday 16th June 2017 Monday 12th June Exhibition set up Tuesday 13th June Exhibition set up Wednesday 14th June Exhibition set up Thursday 15th June Exhibition set up Friday 16th June Exhibition set up Term 3 WEEK 9 Monday 19th June to Friday 23rd June 2017 Monday 19th June AA Prizes

Exhibition set up


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Tuesday 20th June Exhibition set up Wednesday 21st June Exhibition set up Thursday 22nd June Exhibition set up Friday 23rd June June Graduation Awards Ceremony

Opening of End of Year Exhibition End of Term 3

END OF THE YEAR Student Vacation: Starts Saturday 24th June


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5. AAFY BIBLIOGRAPHY FOR TERM 1

The following readings are related to Term 1 Studio Projects.

1. Ábalos, Iñaki. La Buena Vida: Visita Guiada a las Casas de la Modernidad.

Barcelona: Gustavo Gili, 2000.

English edition: The Good Life: a Guided Visit to the Houses of Modernity. Barcelona:

Gustavo Gili, 2001.

2. Colomina, Beatriz. Privacy and Publicity: Modern Architecture as Mass Media.

Cambridge, MA: The MIT Press, 1994.

3. Venturi, Robert. Complexity and Contradiction in Architecture. New York, NY: The

Museum of Modern Art, 1966.

4. Zell, Mo. The Architectural Drawing Course: Understand the Principles and Master

the Practices. London: Thames and Hudson, 2008.

5. Kerr, Joe and Andrew Gibson. London: From Punk to Blair. London: Reaktion

Books, 2003.

6. Kostof, Spiro. The City Shaped: Urban Patterns and Meanings throughout History.

London: Thames & Hudson, 1999.

Highly recommended – read “Stories of Cities” series on the Guardian Newspaper:

https://www.theguardian.com/cities/series/the-story-of-cities

https://www.theguardian.com/cities/series/the-story-of-cities


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6. AAFY CONSTRUCT YOUR LIBRARY: ARCHITECTURE AND BEYOND

These are some essential architecture books and recommended non-architectural

readings for general knowledge.

Note: The readings which are related to Term 2 Studio Projects are indicated with

Red, while the ones related to Term 3 Studio Projects are indicated with Blue.

ARCHITECTURE BOOKS

- Banham, Reyner. Scenes in America Deserta. Salt Lake City: Gibbs M. Smith Inc.,

1982.

- Banham, Reyner. A Critic Writes: Essays by Reyner Banham. London: University of

California Press, 1996.

- Basar, Shumon, Douglas Coupland and Hans Ulrich Obrist. The Age of Earthquakes:

a Guide to the Extreme Present. London: Penguin, 2015.

- Basar, Shumon and Stephan Truby, eds. The World of Madelon Vriesendorp:

Paintings, Postcards, Objects, Games. London: AA Publications, 2008.

- Boesiger, Willy, ed. Le Corbusier Oeuvre complète en 8 volumes. Berlin: Birkhaüser

GmbH, 1995.

Note: The Oeuvre is available as separate volumes in the AA Library and online.

- Carpo, Mario. The Alphabet and the Algorithm. Cambridge, MA: The MIT Press,

2011.

- Clark, Roger and Michael Pause. Precedents in Architecture: Analytic Diagrams,

Formative Ideas, and Partis. Hoboken, New Jersey, NJ: John Wiley and Sons, 2005.

- Dallegret, François et al. God & Co: François Dallegret Beyond the Bubble. London:

AA Publications, 2011.

- Evans, Robin. Translations from Drawing to Building and Other Essays. London:

Architectural Association, 1997.

- Hardingham, Samantha. Cedric Price Works 1952 – 2003: A Forward-minded

Retrospective. London: AA Publications, 2016.

- Lerup, Lars. Planned Assaults. The Nofamily House. Love/House, Texas Zero.

Cambridge, MA: The MIT Press, 1987.


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- Loos, Adolf. “Ornament und Verbrechen.” Cahiers d'Aujourd'Hui 5 (1913).

English edition of the essay in: Ornament and Crime: Selected Essays. Riverside, CA:

Ariadne Press, 1998.

- OMA, Rem Koolhaas and Bruce Mau. S, M, L, XL: Small, Medium, Large, Extra-Large.

New York, NY: Monacelli Press, 1995.

- Pope, Albert. Ladders. New York City, NY: Princeton Architectural Press, 2015.

- Tafuri, Manfredo. Theories and History of Architecture. London: Harper & Row

Publishers, 1980.

NON-FICTION

- Ackroyd, Peter. London: The Biography. London: Chatto & Windus, 2003.

- Augé, Marc. Non-Places. London: Verso, 1995.

- Barthes, Roland, Richard Miller, and Richard Howard. The Pleasure of the Text. New

York: Hill and Wang, 1975.

- Barthes, Roland and Annette Lavers. Mythologies. New York, NY: Hill and Wang,

1972.

- Baudrillard, Jean. America. New Ed. London: Verso, 2010.

- Berger, John et al. Ways of Seeing. London: Penguin 1972.

- Berman, Marshall. All That Is Solid Melts Into Air. New York: Simon and Schuster,

1982.

- Bois, Yve-Alain and Krauss, Rosaline E. Formless, A User’s Guide. New York: Zone

Books, 1997.

- Coupland, Douglas. Kitten Clone: Inside Alcatel-Lucent. London: Visual Editions,

2014.

- Debord, Guy. Society of the Spectacle. New York, NY: Zone Books, 1994.

- Easterling, Keller. Enduring Innocence: Global Architecture and its Political

Masquerades. Cambridge, MA: The MIT Press, 2005.

- Focillon, Henri. The Life of Forms in Art. New York: Zone Books; Revised edition,

1992.

- Gombrich, Ernst. A Little History of the World. New Haven: Yale University Press;

New Edition, 2008.


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- Hatherley, Owen. A Guide to the New Ruins of Great Britain. London: Verso Book,

2010.

- Hoffman, Abbie, Izak Haber, and Bert Cohen. Steal This Book. New York: Four Walls

Eight Windows, 1996.

- Joyce, James. Ulysses. New York, NY: Modern Library, 1992.

- Kundera, Milan. The Curtain. New York: HarperCollins Publishers, 2006.

- McLuhan, Marshall and Quentin Fiore. The Medium is the Massage: An Inventory of

Effects. Harmondsworth: Penguin, 1967.

- Rosenau, Helen. The Ideal City. London: Methuen 1983.

- Schöning, Pascal. Manifesto For A Cinematic Architecture. London: AA Publications,

2006.

- Sennett, Richard. The Craftsman. New Haven: Yale University Press, 2008.

- Sinclair, Iain. London Orbital. London: Penguin, 2003.

- Smithson, Robert and Jack D Flam. Robert Smithson: The Collected Writings.

Berkeley: University of California Press, 1996.

- Sontag, Susan. Against Interpretation and Other Essays. London: Penguin Classics,

2009.

- Steyerl, Hito. The Wretched of the Screen. Berlin: Sternberg Press, 2012.

FICTION

- Adams, Douglas. The Hitchhiker’s Guide to the Galaxy. New York: Harmony Books,

1980.

- Ballard, J. G. High Rise. London: Jonathan Cape, 1975.

- Blake, William and Andrew Lincoln. Songs of Innocence & Of Experience. London:

Tate, 2006.

- Borges, Jorge Luis and Andrew Hurley. Fictions. London: Penguin, 2000.

- Carson, Anne. If Not: Winter: Fragments of Sappho. Montreal, Canada: Knopf

Canada, 2003.

- DeLillo, Don. Cosmopolis. New York, NY: Scribner, 2003.

- DeLillo, Don. Zero K. New York, NY: Scribner, 2016.

- Dickens, Charles. A Tale of Two Cities. New York: Penguin Books, 2010.

- Gibson, William. Neuromancer. New York: Penguin Publishing Group, 2000.


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- Marcus, Ben. The Age of Wire and String. London: Granta, 2003.

- McGuire, Richard. Here. London: Hamish Hamilton, 2014.

- Orwell, George. Nineteen Eighty-Four. New York: Harcourt, Brace and Co., 1949.

- Perec, Georges and John Sturrock. Species of Spaces and Other Pieces. London:

Penguin Books, 1997.

- Serafini, Luigi. Codex Seraphinianus. New York: Abbeville Press, 1983

- Shakespeare, William, Stanley Wells, and Gary Taylor. William Shakespeare, The

Complete Works. Oxford, Oxfordshire: Clarendon Press, 1986.

- Wallace, David Foster. Infinite Jest. Boston: Little, Brown and Company, 1996.

- Woolf, Virginia. A Room of One’s Own. New York: Harcourt, Brace, Jovanovich,

1957.

FILMS

- Lang, Fritz. Metropolis (1927)

- Chaplin, Charlie. Modern Times (1936)

- Welles, Orson. Citizen Kane (1941)

- Godard, Jean-Luc. Breathless (1960)

- Fellini, Federico. 8½ (1963)

- Antonioni, Michelangelo. Blowup (1966)

- Truffaut, François. Fahrenheit 451 (1966)

- Tati, Jacques. Playtime (1967)

- Kubrick, Stanley. A Clockwork Orange (1971)

- Tarkovsky, Andrei. Stalker (1979)

- Herzog, Werner. Fitzcarraldo (1982)

- Jarmusch, Jim. Stranger than Paradise (1984)

- Wenders, Wim. Paris, Texas (1984)

- Gilliam, Terry. Brazil (1985)

- Greenaway, Peter. The Belly of an Architect (1987)

- Tarantino, Quentin. Pulp Fiction (1994)

- Weir, Peter. The Truman Show (1998)

- Lynch, David. The Straight Story (1999)

- Miyazaki, Hayao. Spirited Away (2001)


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- von Trier, Lars. Dogville (2003)

- Coen Brothers. No Country for Old Men (2007)

- Lanthimos, Yorgos. Dogtooth (2010)

- Anderson, West. The Grand Budapest Hotel (2014)

- Godard, Jean-Luc. Goodbye to Language (2014)

- Lanthimos, Yorgos. The Lobster (2015)

- Vinterberg, Thomas. The Commune (2016)

LINKS

* Places you must visit in London

- Barbican: http://www.barbican.org.uk/

- British Library: http://www.bl.uk/

- British Museum: http://www.britishmuseum.org/

- Building Centre: http://www.buildingcentre.co.uk/

- Institute of Contemporary Arts (ICA): https://www.ica.org.uk/

- Royal Academy of Arts (RA): https://www.royalacademy.org.uk/

- Royal Institute of British Architects (RIBA): https://www.architecture.com

- Tate Galleries: http://www.tate.org.uk/

- Victoria & Albert Museum: http://www.vam.ac.uk/

- Whitechapel Gallery: http://www.whitechapelgallery.org/

* Places you will need in London

- London Graphic Centre: http://www.londongraphics.co.uk/

- The Model Shop: http://modelshop.co.uk/

- Foyles Bookshop: http://www.foyles.co.uk/

http://www.barbican.org.uk/

http://www.bl.uk/

http://www.britishmuseum.org/

http://www.buildingcentre.co.uk/

https://www.ica.org.uk/

https://www.royalacademy.org.uk/

https://www.architecture.com/

http://www.tate.org.uk/

http://www.vam.ac.uk/

http://www.whitechapelgallery.org/

http://www.londongraphics.co.uk/

http://modelshop.co.uk/

http://www.foyles.co.uk/

Documents

AAFY 1617 PRESENT & ARCHITECTURE 20160926...AAFY 1617 PRESENT & ARCHITECTURE 20160926 3 1. AAFY PROSPE TUS First Year at the AA is the initial exposure to the five-year study of architecture