HISTORY AND THEORY STUDIES FIRST YEAR Terms 1 and 2 Course Lecturers: CHRIS PIERCE / BRETT STEELE (Term

1) Course Lecturer: PIER VITTORIO AURELI (Term 2) Course Tutor: MOLLIE CLAYPOOL Teaching Assistants: EMMA JONES ALISON MOFFETT ZAYNAB DENA ZIARI TERM 1: CANONICAL COMPARISONS
In this course, we will analyse in-depth some of the most important Western European architectural projects and texts from Classical Greece to the Enlightenment, but not as standalone works. We will intentionally collapse the historical narrative by pairing a pre-modern project with a modern counterpart. In this way, the course seeks to not only closely scrutinize significant buildings, which are generally agreed to represent key moments in the history of architectural thinking/production, but also to raise entirely new questions in relation to them with the objective of developing and engaging the students critical faculties of creative thinking and interpretation in relation to architectural history and theory. On a week-by-week basis students will learn ways to comprehend and analyze wildly different buildings via different forms of scrutiny, but which will include conventional methods of architectural description (plan, section and elevation, materials and technologies), and be introduced to the more discursive methods of twenty- and twenty-first-century writers who have given distinctive insight to these works. Course Structure The course runs for 3 hours per week on Tuesday mornings. There are four parallel seminar sessions. Please refer to the weekly Events List for locations/venues: www.aaschool.ac.uk Seminar 10.00am - 12.00pm Lecture 12.00 - 1.00pm Seminars provide a place for discussion and questioning of course material and lectures as well as presentations of student work and essay development. One hour of each seminar will be dedicated to discussing the prior weeks lecture and weekly assignment, with the 2nd hour of each seminar dedicated to submission development. Submission An essay of 3,000 words will be due towards the end of each term. There will be deadlines for essay development throughout the term. This essay must utilise readings and projects from the course material. The essay should be viewed as a critical project, attempt an argument and be rigorously produced. It must adhere to academic standards for essay writing. Tutorials will be provided within seminars and seminar tutors will be available for tutorials by appointment. In lieu of an essay, an alternative submission which utilises course material as a source of inspiration for a more creative project will be accepted. Alternative submissions will go through a proposal

process and be developed throughout the term in a similar fashion as the essay. A short text of 1,0001,500 words describing the submission must be handed in at the same time. Course Materials Readings (both primary and secondary texts) for each week will be provided both online as downloadable .pdfs on the course website and in the library on the course bookshelf. Full books and photocopies for copying are available on the course bookshelf. Reading the primary texts is expected of all students each week, to be discussed in seminar. We have assigned readings which are accessible, reasonable in length and relevant to the course material. Secondary texts are also available for further reading. The course website is located at aafirstyearhts.wordpress.com - currently being updated. Seminar Assignments Weekly seminars will be accompanied by weekly assignments. Each student will be responsible for making a short presentation during some point each term relating to the lectures and other course material. These assignments should be viewed as a means for students to bring in their own materials, interests, work and research to the seminar discussion. Not completing the assigned writing assignments or presentations will affect final marks for the course. Attendance Attendance is mandatory to both lectures and seminars 7 in Term 1 and 7 in Term 2. Students are expected to attend all lectures and seminars. 1 absence per term is accepted before poor attendance begins to affect your final mark. Please sign into every lecture. Marking Marking framework adheres to a High Pass with Distinction, High Pass, Pass, Low Pass, Completeto-Pass system. The essay submission counts for 60% of the final mark, and participation (attendance to lectures and seminars, seminar writing and seminar presentation) count for 40% of the final mark. Term 1 Lecture/Seminar Schedule 4 October 2011 Seminar Introduction to the course Lecture Parthenon, Athens | Neue Nationalgalerie Berlin (1962-68), Ludwig Mies van der Rohe (1886-1969) Weekly seminar assignment due in Week 3 - please prepare a series of 5 critical questions (each) about the materials in the lecture and readings to be presented as topics for seminar discussion. Key text(s): 1 Excerpt on the Neue Nationalgalerie Berlin in Mies in Berlin by Terence Riley, MOMA, 2001. 2 Excerpt from Parthenon by Mary Beard, Profile, 2002. 11 October 2011 Seminar Week 2 discussion + 5 questions due Lecture Pantheon, Rome (126 AD) | Guggenheim Museum New York (1956-1959), Frank Lloyd Wright (1867-1959) Weekly seminar assignment due in Week 4 - please prepare 300 words of writing (no more than 1 A4 page) on the lecture and reading material to be presented as seminar discussion. Key text(s):

The Roman Vault in Architecture and the Phenomena of Transition: the three space conceptions in architecture by Sigfried Giedion, Harvard University Press, 1971, pgs 135-159. Excerpt on the Guggenheim Museum New York from The Architecture of Frank Lloyd Wright by Neil Levine, Princeton University Press, 1996.

18 October 2011 Seminar Week 3 discussion + 300-500 words of writing due + submission topic Lecture Chartres Cathedral (13th century)| Centre Georges Pompidou, Renzo Piano (1937-) and Richard Rogers (1933-) *** Submission topic is due this week (4) in seminar to be discussed with your seminar tutor *** Please print your topic and a list of books or other readings you would like to use for your submission to discus with your seminar tutor. Weekly seminar assignment due in Week 5 - please bring it something you have done from outside the course, either in studio or outside the AA (exhibition, book, blog post, newspaper or magazine clipping, film, photograph, painting, sculpture, any other kind of media) that you find interesting and relates to the lecture and reading material. This is the HTS version of show and tell. Key text(s): 1 An Interpretation of Gothic in Heavenly Mansions by John Summerson, W.W. Norton, 1998. 2 The Beaubourg Effect in Simulacra and Simulation by Jean Baudrillard, University of Michigan Press, 1994. 25 October 2011 Seminar Week 4 discussion + HTS show and tell Lecture Florence Duomo (1436) Filippo Brunelleschi (1377-1446) | Monadnock Building Chicago (1891-3), Daniel Burnham (1846-1912) and John Root (1850-91) *** Submission topic development to be discussed in seminar in tutorials *** Please continue to develop your submission topic in discussion with your seminar tutor. Weekly seminar assignment due in Week 7 - short presentations by students using this weeks lecture and reading material as inspiration. This should be used for discussion in seminar. Presentations will be assigned at the start of the term. Key text(s): 1 The Architecture in Music in The Projective Cast by Robin Evans, MIT Press, 1995, pgs 243-247. 2 Excerpt on the Monadnock Building Chicago from Chicago 1980: The Skyscraper and the Modern City by Joanna-Merwood Salisbury, University of Chicago Press, 2009. 8 November 2011 Seminar Week 5 discussion + short presentations Lecture Villa Rotonda (1591), Andrea Palladio (1508-80) | Villa Stein (1927), Le Corbusier (1887-1965) *** Submission abstract/introduction is due this week (7) in seminar - 1 A4 page of writing *** Please bring a developed piece of writing introducing your submission topic. Weekly seminar assignment due in Week 8 - short presentations by students using this weeks lecture and reading material as inspiration. This should be used for discussion in seminar. Presentations will be assigned at the start of the term. Key text(s):

Excerpts from The Mathematics of the Ideal Villa & other essays by Colin Rowe, MIT Press, 1976.

15 November 2011 Seminar Week 7 discussion + short presentations Lecture San Carlo alle Quattro Fontane, Francesco Borromini (1599-1667) | Vanna Venturi House (1962-64), Robert Venturi (1925-) *** Submission outline is due this week (8) in seminar ** Please briefly outline the structure of your submission. Weekly seminar assignment due in Week 9 - short presentations by students using this weeks lecture and reading material as inspiration. This should be used for discussion in seminar. Presentations will be assigned at the start of the term. Key text(s): 1 Excerpts from Borromini by Anthony Blunt, Allen Lane, 1979. 2 Non-straightforward Architecture and Contradictory Levels in Complexity and Contradiction in Architecture by Robert Venturi, Architectural Press, 1977, reprint 1983. 22 November 2011 Seminar Week 8 discussion + short presentations Lecture Newton Cenotaph (1784), Etienne Louis Boulle (1728-1799) | Crystal Palace (1851), Joseph Paxton (1803-65) *** Submission development - 1 section of writing is due this week (9) in seminar ** Please begin to write a section of the main body of your submission. This is the final seminar of the term. Please schedule tutorials for submission development with your seminar tutor. Key text(s): 1 Architecture as a State of Exception: Etienne Louis Boulles Project for a Metropolis from The Possibility of an Absolute Architecture by Pier Vittorio Aureli, MIT Press, 2011. 2 Space and Power in Age of the Masters: a personal view of modern architecture by Reyner Banham, Architectural Press, 1975. Essay tutorial times with seminar tutors will be provided on an on-going basis. Essay 1 to be submitted by 1.00pm on Wednesday 7th December 2011 Please submit 2 hard copies of your submission to the Co-ordinators Office Please submit a digital file of your submission to your seminar tutor

TERM 2: HISTORY OF ARCHITECTURE: A CRITICAL OUTLINE

The course aims to a general introduction to the History of Architecture from antiquity to the present. Architectural history is a relatively recent field of knowledge which developed and flourished only in the last century. Yet any attempt to theorize architecture has always implied a discussion on its historical evolution. History thus is not just a passive recollection of past events, but a project, which implicitly or explicitly imposes judgments, discriminations and ways to understand the present. In other words, history is always about the present since it always tries to define the critical continuity of what architecture has become today. The sessions of this course will be devoted to critical moments in which architecture has become instrumental to project new forms of power and subjectivity. The lectures will focus not at history at large, but rather crucial episodes; paradigmatic examples that have the possibility to illuminate wider historical scenarios. A special emphasis will be given to the reading of the relationship between architectural form and the social and political circumstances in which architecture was theorised, projected, produced, and lived. Term 2 Lecture/Seminar Schedule 10th January 2012 Introduction to the Category of History: Methodological Problems Key text(s): 1 What is a Paradigm? by Giorgio Agamben in The Signature of All Things, New York: Zone Books, pgs 9-32. 17th January 2012 Introduction to the History of Architecture and To Its Categories: Form, Space, Project, Politics, and Subjectivity Key text(s): 1 Excerpt from Principles of Art History by Heinrich Wolfflin, London: Dover, 1950. 2 Excerpt from Space, Time, and Architecture: The Growth of a New Tradition by Sigfried Giedion, Cambridge Ma.: Harvard University Press, 1941, 1997. 3 Excerpt from Theories and History of Architecture by Manfredo Tafuri, New York: Icon, 1981. 24th January 2012 Greek Architecture vs. Roman Architecture: A Critical Comparison Between Two Paradigmatic Understandings of Architectural and Urban Space Key text(s): 1 Excerpt from Greek and Roman Architecture by Donald S. Robertson, Cambridge Ma.: Cambridge University Press, 1969. 31st January 2012 Species of Spaces: A Critical comparison Between Byzantine Islamic and Chinese Architecture Key text(s): 1 Excerpt from Early Christian and Byzantine Architecture by Richard Krautheimer, New York: Yale University Press, 1982. 2 Excerpt from Islamic Architecture: Form, Function, Meaning by Robert Hillenbrand, New York: Columbia University Press, 2004. 3 Excerpt from Chinese Architecture and Planning: Ideas, Methods, Tecnique by Qinghua Guo,

Fellbach: Axel Menges, 2006. 14th February 2012 The Beginning of Modernity: Architectural Orders, Architectural Treatises and the Invention of Perspective Key text(s): 1 Excerpt from John Summerson, The Classical Language of Architecture London: Thames and Hudson, 1963. 21st February 2012 Architecture and the Project of the City (1): Donato Bramante, Andrea Palladio, Gian Lorenzo Bernini, Christopher Wren Key text(s): 1 Excerpt from Donato Bramante by Arnaldo Bruschi, London: Thames and Hudson, 1977) 2 Excerpt from Andrea Palladio by James Ackerman, London: Penguin, 1974. 3 Excerpt from Bernini by Howard Hibbard, London: Penguin, 1991. 4 Excerpt from Wren by Margaret Whinney, London: Penguin, 1998. 28th February 2012 Architecture and the Project of the City (2): Claude Nicolas Ledoux, Le Corbusier, Ludwig Mies van der Rohe, Rem Koolhaas Key text(s): 1 Excerpt from Claude-Nicolas Ledoux: Architecture and Utopia in the Era of the French Revolution by Anthony Vidler, Zurich: Birkhauser, 2006. 2 Excerpt from Le Corbusier by Kenneth Frampton, London: Thames and Hudson, 2001. 3 Excerpt from The Artless World: Mies van der Rohe on the Building Art by Fritz Neumeyer Cambridge, Ma.: The Mit Press, 1977. 4 Excerpt from Rem Koolhaas OMA by Roberto Gargiani, London: Routledge, 2008. Essay tutorial times with seminar tutors will be provided on an on-going basis. Essay 2 to be submitted by 1.00pm on Friday 16th March 2012 Please submit 2 hard copies of your submission to the Co-ordinators Office Please submit a digital file of your submission to your seminar tutor

HISTORY AND THEORY STUDIES SECOND YEAR Terms 1 and 2 ARCHITECTURES: THEIR PASTS AND THEIR CULTURES Course Lecturer: MARK COUSINS Course Tutor: RYAN DILLON Teaching Assistants: ROSS ADAMS DANIEL AYAT ROBERTA MARACCIO
The second year History and Theory course has typically been a history course. This is certainly not a survey course. Thus, we will focus on the variety of types of architecture both in historical terms and within different cultures. In this sense, the lecture and seminar course is about how culture influences architecture and about how architecture influences culture. The aim of the lecture series will attempt to show how different cultural forms produce different architectural forms. To demonstrate this we look at how different religious forms have been related to different architectural forms; or how different forms of political power have produced different types of architecture; or how people have argued that different national identities have resulted in different architectural styles. The course attempts to make students aware of the relation between architectural form and a range of social focus. The lectures will cover a wide range of topics exposing the relationship of architecture to culture. We will look at the variety of ways in which buildings are designed in many cultures and traditions throughout time. We will investigate modernitys recent invention of the figure of the architect while comparing this with other building traditions, as well as buildings without an architecture and with vernacular architecture. The concentration of architectural designs within the profession of trained architects would strike many cultures as strange and it is important to be aware of the other methods and design practices that are devoid of the architect. A central dimension of the course is to provide an opportunity for students to develop their own arguments through the practice of writing. Unlike previous courses, the Thursday morning session will start with the seminar and conclude with the lecture. The seminar will provide the students a forum to discuss readings, present readings to the class in groups, and engage with graphic exercises that are aimed at developing arguments through research and writing. Time will be set aside to deal with the problem of how to research and write well-structured essays. This course-booklet contains an example paper on how to think about writing an essay. We hope you find it and the course useful in improving your ability to construct an argument through the important skill of writing. Term 1 Please note that all assigned readings for each lecture topic will be discussed in the seminar portion of the class during the following week. For example, Week 1 readings on Architecture will be discussed during the Week 2 Seminar. Week 1 ARCHITECTURE How is architecture defined, and how is it distinguished from building, from the vernacular and from architecture without architects. Required Seminar Readings: Readings for this week will be a collection of short texts provided by the tutors from a diverse selection of many publications including but not limited too the following: Vitruvius, Then Books on Architecture; Alberti, L.B., On the Art of building in Ten Books; Laugier, Marc-

Antoine, An Essay on Architecture; Durand, Jean-Nicolas-Louis, Prcis of the Lecture on Architecture; Le Corbusier, Towards a New Architecture; Gideon, Sigfried, Space, Time and Architecture: The Growth of a New Tradition; Venturi, Robert, Complexity and Contradiction; Koolhaas, Rem, Delirious New York These texts will be handed out to the students during Week 1 Seminar Week 2 DESIGN What is design? How did it evolve? How does it relate to the emergence of architectural representation, plans, sections, etc.? Required Seminar Readings: Forty, Adrian, Design, p. 136-141, in Words and Buildings: A Vocabulary of Modern Architecture Agrest, Diana, Design versus Non-Design, p. 198-213 in Hays, Michael K. (ed.), in Architecture Theory since 1968, The M.I.T. Press, 1998. Suggested Seminar Readings: Koolhaas, Rem, Junkspace, in Chuihua, Judy Chung; Inaba, Jeffery; Koolhaas, Rem; Leong, Sze Tsung, et al, Harvard Design School Guide to Shopping, Harvard Design School, 2001. Latour, Bruno, A Cautious Prometheus? A Few Steps Toward a Philosophy of Design presented as the Keynote Lecture for the Networks of Design for the meeting of Design History Society, 3 September, 2008. Week 3 THE ARCHITECT Can there be architecture without architects? How did the figure of the architect evolve? Required Seminar Readings: Saint, A. 1985, The Architect as Hero and Genius, p. 1-18, in The Image of the Architect, Yale University Press. Koolhaas, Rem, The Talents of Raymond Hood, pp. 162-77, in Delirious New York: A Retroactive Manifesto for Manhattan, Monacelli Press, 1994. Alberti, L.B., Prologue, p. 1-6, in On the Art of building in Ten Books, The MIT Press, 1991. Rudofsky, B., Before the Architects, Design Quarterly (118/119), pp. 60-63, 1982. Suggested Seminar Readings: Rand, A., The Fountainhead, 1st edition ed. Blakinston Co. 1943. Kostof, S., The Architect in the Middle Ages, East and West, p. 59-95, in The Architect: Chapters in the History of the Profession, University of California Press, 2000. Week 4 PROFESSION The nineteen-century emergence of architecture as a profession is compared with medicine. Why has the architect occupied a weaker position then the lawyer or the doctor? Required Seminar Readings: Wigley, Mark, Prosthetic Theory: The Discipline of Architecture in Assemblage No 15, August 1991, p. 7-29. Martin, Reinhold, Architecture and Its Pasts Symposium Lecture at the Architectural Association, 22 May 2010. http://www.aaschool.ac.uk/VIDEO/lecture.php?ID=1222 Suggested Seminar Readings: Hays, Michael, Oppositions of Autonomy and History (Introduction), p. xi-xv in Oppositions Reader, Princeton Architectural Press, 1998. Michel, Foucault, The Archaeology of Knowledge & The Discourse of Language, Vintage, 1982. Week 5 ARCHITECTURAL HISTORY An account of how architectural history has evolved as a concept and as a practise in the nineteenth-century. Why is it based upon a narrative of a successions of styles, classical, gothic, renaissance, baroque, etc. and why this is a problem for architectural students?

Required Seminar Readings: Colquhoun, Alan, Introduction: Modern Architecture and Historicity, p. 11-19 in Essays in Architectural Criticism: Modern Architecture and Historical Change, MIT Press, 1995. Forty, Adrian, History, p. 196-205, in Words and Buildings: A Vocabulary of Modern Architecture, Thames and Hudson Ltd. 2004. Gideon, Sigfried, History A Part of Life, p. 1-10, in Space, Time and Architecture: The Growth of a New Tradition, Harvard University Press, 2008 Edition. Suggested Seminar Readings: Benjamin, Walter, Theses on the Philosophy of History, p. 235-264 in Illuminations, Schocken Books, 2007. Vidler, Anthony, Foreword and Introduction, p. 1-16, and Postmodern or Posthiorie?, p. 191-200 in Histories of the Immediate Present: Inventing Architectural Modernism, MIT Press, 2008. Colquhoun, Alan, Three Kinds of Historicism, p. 1-17 in Oppositions 26. Week 6 RELIGION Each of the major monotheist religions is associated with major architectural outcomes. The lecture will question the extent to which the religions in themselves stamped particular forms upon architecture. It shows how each of them derived from Roman and other forms. Required Seminar Readings: Kostof, S. & Castillo, G., The Reinassance: Ideal and Fad, p. 403-412 in A History of Architecture: Settings and Rituals, Oxford University Press, 1995. Kostof, S. & Castillo, G., Chartres, p. 333-348, in A History of Architecture: Settings and Rituals, Oxford University Press, New York, 1995. Laugier, Marc-Anotine. 1985, On the Style in Which to Build Churches, p. 100-120, in An Essay on Architecture, Hennessey & Ingalls, 1985. Suggested Seminar Readings: Kostof, S. & Castillo, G., The Triumph of Christ, p. 245-68 in A History of Architecture: Settings and Rituals, Oxford University Press, 1995. Wittkower, R., Part 1. The Centrally Planned Church and The Renaissance, p. 1-32 in Architectural Principles in the Age of Humanism, Academy Editions, Chichester, West Sussex, 1998. Alberti, L.B., The Seventh Book: Art of Building. Ornament to Sacred Buildings, p. 189243 in On the Art of Building in Ten Books, The MIT Press, Cambridge, Massachusetts, 1991. Miller, K., St. Peter's, Harvard University Press, Cambridge, Mass. 2007. Week 7 POWER Architecture has emerged as always been central to the exercise and expression of power. Rulers have tried to convey their power through architecture; different types of regimes have sought to clarify their nature through architecture. Considers the form of the palace and its mutations. Required Seminar Readings: Foucault, M., Space Power and Architecture, p. 296-306, in M Hays (ed), Architecture Theory Since 1968, MIT Press. 1998. Benevolo, L., Chapter 3: Rome, City and Worldwide Empire, p. 135-251, in The History of the City, Scolar Press, 1908. Suggested Seminar Readings: Benton, T., Elliott, D., Ades, D. & Hobsbawn, E.J., Art and Power: Europe Under the Dictators 1930-1945, Hayward Gallery catalogue ed. Thames & Hudson Ltd, 1995. Foucault, M., Docile Bodies, p. 135-148 in Discipline and Punish: The Birth of the Prison, Vintage Books, 1995. Hirst, P.Q. 2005, Foucault and Architecture, p. 155-178, in Space and Power: Politics, War and Architecture, Polity, 2005.

Term 2 Week 1 THE HOUSE Describes why the house, a site of human shelter has often been regarded as its fundamental unit of architecture and why I argue that this is wrong. Considers the emergence of the nineteenth-century of the category of housing as a category of urbanism. Required Seminar Readings: Laugier, Marc-Antoine, Introduction, p. General Principles in Architecture, p. 11-32, in An Essay on Architecture, Hennessey and Ingalls, Inc. 1977. Alberti, Leon Battista, The Lineamants Book One Chapter 9, p. 23-24 in On the Art of Building, Translated by Joseph Rykwert, Neil Leach, Robert Tavernor, The MIT Press, 1988. Le Corbusier, Eyes Which Do Not See, p. 85-129 in Towards a New Architecture, Dover Publications, 1986. Rossi, Aldo, Problems of Classification, p. 48-55 in Architecture and the City, The MIT Press, 1984. Suggested Seminar Readings: Durand, Jean-Nicolas-Louis, Private Buildings, Volume Two, Section Three, p. 170-181 in Prcis of the Lecture on Architecture, The Getty Research Institute, 2000. Le Corbusier, Mass-Production Houses p. 229-265 in Towards a New Architecture, Dover Publications, 1986. Alberti, Leon Battista, Works of Individuals Book Five Chapter 14-18, p. 140-153 in On the Art of Building, Translated by Joseph Rykwert, Neil Leach, Robert Tavernor, The MIT Press, 1988. Twain, Mark, The Diaries of Adam and Eve, Fair Oaks Press, 1998. Week 2 THE ENGINNER AND INFRASTRUCTURE The lecture traces the overlap between architects and engineers in building and projects to provide an infrastructure for cities, for transports, etc and will discuss new types of architecture that evolve out of industrial capitalism. It will also attempt to specify the different by tracing the hostility of architects to the proposal for the Eiffel Tower. Required Seminar Readings: Quatremre de Quincy, Type, p. 616-620 in Oppositions Reader, Princeton Architectural Press, 1998. Saint, A., Eiffel and 1889, p. 161-71, in Architect and Engineer: A Study in Sibling Rivalry, Yale University Press, 2007. Banham, Reynar, Introduction, p. 9-12, Germany: Industry and the Werkbund, p. 68-78, The Factory Aesthetic, p. 79-87 in Theory and Design in the First Machine Age, The MIT Press, 1983. Suggested Seminar Readings: Le Corbusier, Eyes Which Do Not See, p. 85-129 in Towards a New Architecture, Dover Publications, 1986. Barthes, R., The Eiffel Tower, p. 3-18, in The Eiffel Tower, and Other Mythologies, University of California Press, 1997. Pevsner, N., Engineering and Architecture in the 19th Century, p.118-147 in Pioneers of Modern Design: from William Morris to Walter Gropius, Yale University Press, 2005. Pevsner, Nicholaus, Foreword and Introduction, p. 6-10, Railway Station, p. 225-234, Warehouse and Office Buildings, p. 213-224, Factories, p. 273-288. Week 3 NATIONAL IDENTITY AND ARCHITECTURE In what sense are the national identities, which are expressed in architecture? The lecture will discuss of contemporary India and China, architecture and national identity. Required Seminar Readings:

Frampton, Kenneth, Critical Regionalism: modern architecture and cultural identity, p. 314327, in Modern Architecture: A Critical History, Thames and Hudson, Ltd. London, 1992. Hitchcock, Henry-Russell and Johnson, Phillip, Introduction, p. 33-37; Chapter IV-VII, p. 55-89, in International Style, W.W. Norton & Company, 1995 Edition. Hobsbawm, Eric and Ranger, Terrance (Ed.), Introduction, p. 1-15, in The Invention of Tradition, Cambridge University Press, 2003 Edition. Suggested Seminar Readings: Trevor-Roper, Hugh, The Invention of Tradition: The Highland Tradition of Scotland, p. 15-42, in The Invention of Tradition, Cambridge University Press, 2003 Edition. Hobsbawm, Eric, Mass-Producing Tradition: Europe, 1870-1914, p. 263-308, in The Invention of Tradition, Cambridge University Press, 2003 Edition. Week 4 POLITICAL IDENTITY AND ARCHITECTURE Can we speak of architectural forms as an expression or representation of politics? Was there a Nazi architecture, or a Fascist architecture, or a Communist architecture? What does it mean by calling a building conservative, or indeed revolutionary? Required Seminar Readings: McLeod, M., 1989, Architecture and Politics in the Reagan Era: From Postmodernism to Deconstructivism, p. 23-59, Assemblage (8), 1989. Frampton, K. 2007, Giuseppe Terrangi and the Architecture of Italian Rationalism, p. 203-9, in Modern Architecture: A Critical History, Thames & Hudson, 2007. Frampton, K., Architecture and the State: Ideology and Representation, p. 210-223 in Modern architecture: A Critical History, Thames & Hudson, 2007. Suggested Seminar Readings: Harvey, D., Consumerism, Spectacle and Leisure, p. 209-224, in Paris, Capital of Modernity, Routledge, 2003. Harvey, D., Natural Relations, p. 245-52, in Paris, Capital of Modernity, Routledge, 2003. Eisenman, P., Tafuri, M. & Terragni, G., Giuseppe Terragni: Transformations, Decompositions, Critiques, illustrated ed. Monacelli Press, 2003. Week 5 THE MONUMENT Architecture has had a traditional task to help the remembrance of events and persons. How can one think of dimensions of memory within the contemporary city and architecture? Required Seminar Readings: Sert, J.L., Leger, Fernand, Gideon, Sigfried, Nine Points of Monumentality p. 27-30 in Architecture Culture 1943-1968, Rizzoli, 1993. Riegl, Alois, The Modern Cult of Monuments: Its Character and Its Origin, p. 621-651 in Oppositions Reader, Princeton Architectural Press, 1998. Libeskind, Daniel, Global Building Sites - Between Past and Future, p. 69-83, Memory Culture and the Contemporary City, Palgrave Macmillan, 2009. Suggested Seminar Readings: Harbison, Robert, Monuments, p. 37-67, in The Built, the Unbuilt, and the Unbuildable: In Pursuit of Architectural Meaning, The MIT Press, 1991. Yates, Frances, The Art of Memory, Pimlico, 1992. Choay, Francoise, The Concept of the Historical Monument As Such, p. 84-94, in The Invention of the Historic Monument, Cambridge University Press, 2001. Week 6 ARCHITECTURE WITHOUT BUILDING Architects have traditionally designed objects, which are not built theatrical entertainment, pageants into twentieth-century projects for staging, exhibition, design as well as furniture and household objects. How does architecture relate to the general industrial field of design? Required Seminar Readings: Tschumi, Bernard, The Manhattan Transcripts, John Wiley & Sons, 2nd Edition, 1994.

Libeskind, Daniel, Chamber Works, p. 476-479, in M Hays (ed), Architecture Theory Since 1968, MIT Press. 1998. Evans Robert, In Front of the Lines That Leave Nothing Behind, p. 480-489, in M Hays (ed), Architecture Theory Since 1968, MIT Press. 1998. Forty, Adrian, Foreword and Introduction, p. 4-10; Design and Mechanisation, p. 42-61, in Objects of Desire, Design and Society Since 1750, Thames & Hudson, 1986. Suggested Seminar Readings: Forty, Adrian, Differentiation in Design, p. 63-69, Design, Designers and the Literature of Design, 239-245, in Objects of Desire, Design and Society Since 1750, Thames & Hudson, 1986. The Wrong House: The Architecture of Alfred Hitchcock, Steven Jacobs, 010 Publishers, 2007 Power of Ten, Film Documentary by Ray and Charles Eames, 1968 Week 7 THE LIFE AND DEATH OF ARCHITECTURE Most architectural histories treat history of a building as the date of design and construction. But one important dimension of architecture is that it frequently survives. Through the case study of the Parthenon and its new Museum the life span of the building will be addressed. Required Seminar Readings: Hugo, Victor, The Hunchback of Notre Dame, Ruskin, John, The Lamp of Memory, p. 146-164, in The Seven Lamps of Architecture, Dover Books, 1990 Edition, Phelan, Peggy, Building the Life Drive: Architecture As Repetition, p. 289-300, in Herzog de Mueron, Natural History, Lars Mueller, 2003, Suggested Seminar Readings: Forty, Adrian, Memory, p. 206-219, in Words and Buildings: A Vocabulary of Modern Architecture Forster, Kurt, Monument/Memory and the Mortality of Architecture, p. 25-35 in Oppositions Reader Lavin, Sylvia, The Temporary Contemporary, In: Perspecta No. 34, p. 128-135

HISTORY AND THEORY STUDIES THIRD YEAR Terms 1 and 2 ARCHITECTURAL COUPLING [+] Course Lecturers: MOLLIE CLAYPOOL / RYAN DILLON Course Tutor: IVONNE SANTOYO OROZCO Teaching Assistants: SHUMI BOSE ORIT GOLDSTEIN-MAYER EMANOUIL STAVRAKAKIS
HTS 3rd Year will couple architectural projects from the rise of modernism until the early 1990s to explore and expose important architectural trajectories and connections of the twentieth-century. By pitting a series of architectural projects, practices, educational models and, occasionally, architects themselves against one another, the course will take on a two-term project of comparative analysis. Pairings such as the Situationists versus Archigram, and the cole des Beaux-Arts versus the Bauhaus will be discussed. Each coupling will be supplemented by a key device (the +1) such as theoretical writing, drawings, film, publications, photography, etc. which link these projects to other contemporary disciplines outside of architecture. We will be entering worlds where Magrittes painting, La Condition Humane will fuse together Venturis Guild House and Miess Barcelona Pavilion. Each coupling will be supplemented by a key architectural device (the +1) such as theoretical writing, drawings, models, computational tools, publications, photography, film, etc. which link these projects to issues outside of architecture to other contemporary disciplines. These presentations will attempt to reveal the importance of focused research and analysis that lead to unforeseen connections and relationships within architecture and beyond. The couplings at times will be premeditated and at other moments will reveal themselves in accidental ways. Each week students will develop the skill of analysing the key architectural device in relationship to the coupling presented through the act of writing, dissecting key architectural terms and how to decipher their multiple meanings and uses. These pieces of writing will then be presented within seminars not only as a point of discussion, but as a means of constructing a series of written architectural investigations that will constitute a portion of the final submission for each term, bringing theory, writing and the analysis of architectural projects into a succinct body of work. Term 1 2011 Session 1: 6 October 2011 cole de Beaux Arts VS Bauhaus + Industry This lecture will look at the role the cole de Beaux-Arts has had on architectural education, how the Arts and Crafts movement led by William Morris influenced Walter Gropius and the teachings of the Bauhaus and where we now stand in an educational neverland located somewhere between democracy and the teachings of the cole. Primary readings: + Durand, Jean-Nicholas-Louis, Composition in General, p. 119-127; Preliminary Discourse, p. 131-141; and How to Acquire in a Short Time True Architectural Talents, p. 185-186 in Precis of the Lectures on Architecture, The Getty Institute of Publications Program, 2000. + Muthesius, Hermann/Henry Van de Velde, Werkbund theses and antitheses, p. 28-31; Gropius, Walter, Programme of the Staatliches Bauhaus in Weimar, p. 49-53; and Taut, Bruno Down with Seriousism, p. 57-58, in Conrads, Ulrich, Programs and manifestoes on 20th-century architecture, The MIT Press, 1971.

+ Pevsner, Nikolaus, Theories of Art from Morris to Gropius, p. 19-39, in Pioneers of Modern Design: From William Morris to Walter Gropius, Penguin Books, 1991. Secondary readings: + Drexler, Arthur, Engineers Architecture: Truth and Its Consequences in The Architecture of the Ecole des Beaux-Arts, Sector & Warburg, 1977. + Gropius, Walter, Blueprints for an Architects Training, in Larchitecture daujourdhui 20 (February 1950): 74. Session 2: 13 October 2011 Boullee VS Le Corbusier + Image This lecture investigates the utopian, visionary (and rationalist) works and writings of architects tienne-Louis Boulle (and touches back on his student Jean-Nicolas-Louis Durand) posing the work and influences of these first modern architects against themes in the canonical book Towards a New Architecture by Le Corbusier. Primary readings: + Architecture, Essay on Art by tienne-Louis Boulle in Boulles Visionary Architecture by Helen Rosenau, Harmony Books: New York, 1976. + Three Reminders to Architects, Regulating Lines and Eyes That Do Not See in Towards a New Architecture by Le Corbusier, Dover Publications, 1985. + Framing Infinity: Le Corbusier, Ayn Rand and the Idea of Ineffable Space in Warped Space by Anthony Vidler, MIT Press, 2002, pgs 51-64. Secondary readings: + Dark Space in The Architectural Uncanny by Anthony Vidler, MIT Press, 1992, pgs 167-175. + Excerpt, Essay on Architecture by Marc Antoine Laugher, trans. Wolfgang & Anni Hermann, Hennessey and Ingalls: Los Angeles, 1977. Session 3: 20 October 2011 Mies VS Venturi + Photography Mies argued for purity and pushed the glass box to its limits while Venturi rallied the post-modernists to embrace an architecture that relished in the art of contradiction and this lecture, with the photography as our tool of choice, will attempt to reveal that both voices were not always telling us the truth. Primary readings: + Mies van der Rohe, Working Theses, p. 74-75; The New Era, p. 123; and Technology and Architecture, p. 154, in Conrads, Ulrich, Programs and manifestoes on 20th-century architecture, The MIT Press, 1971. +Venturi, Robert, Nonstraightforward Architecture: A Gentle Manifesto, Complexity and Contradiction vs. Simplification or Picturesqueness, Ambiguity and Contradictory Levels: The Phenomenon of Both-And in Architecture (Chapters 1-4), p. 16-33, in Complexity and Contradiction in Architecture, Museum of Modern Art, 1977. Secondary readings: + Evans, Robin, Mies van der Rohes Paradoxical Symmetries in Translations from Drawing to Building and Other Essays, p. 233-277, Architectural Association, 1997. + Colquhoun, Alan, Sign and Substance: Reflections on Complexity, Las Vegas, and Oberlin, p. 139-151, in Essays in Architectural Criticism: Modern Architecture and Historical Change, Oppositions Books, MIT Press, 1981. Session 4: 27 October 2011 CIAM/Team 10 VS Alison and Peter Smithson + Politics Through the eyes of J.G. Ballard this lecture will investigate CIAM, the mega-group of architects formed in 1928 who attempted to establish an architectural world dominance through urbanism and their disgruntled offspring Team X, led by the Smithsons and Aldo van Eyck, ultimately exposing how all these idealist visions turned out. Primary readings:

+ Smithson, Peter and Alison, The Charged Void: Urbanism, Chapter 1, Team X Doorn Manifesto, Monacelli Press, 2004. + Excerpts, Le Corbusier, Athens Chater 1887-1965, Penguin Group, 1973. + Eisenman, Peter, From Golden Lane to Robin Hood Gardens: or If you Follow the Yellow Brick Road, It May Not Lead to Golders Green, p. 41-56, in Eisenman Inside Out: Selected Writings 19631988, Yale University, 2004. + Banham, Reyner, New Brutalism in Architectural Record, December 1955. Secondary readings: + Ballard, J.G., High Rise, Harper Perennial, 2006. + Excerpt, Smithson, Alison (Ed.), Team 10 Primer. + Excerpts, Mumford, Eric Paul, CIAM discourse on urbanism, 1928-1960, The MIT Press, 2002. Session 5: 10 November 2011 Sigfried Giedion VS Reyner Banham + Philosophy This lecture examines the works of two seminal critics of modern architecture, Sigfried Giedions Mechanisation Takes Command and Reyner Banhams The Architecture of the Well-Tempered Environment, two texts which developed a new kind of historiography establishing the importance and influence of technology within our lives and the architectural discipline. Primary readings: + Excerpt, Mechanisation Takes Command, a contribution to an anonymous history by Sigfried Giedion, WW Norton, 1969. + Unwarranted apology and The environment of the machine aesthetic in The Architecture of the Well-Tempered Environment by Reyner Banham, Architectural Press, 1969. Secondary readings: + Excerpt, The Dymaxion World of Buckminster Fuller by Robert W. Marks, Reinhold, 1960. + Excerpt, Lectures on the Philosophy of History by G.W.F. Hegel, Dover, 1956. + Excerpt, Theory and Design in the First Machine Age by Reyner Banham, Architectural Foundation, 1960. Session 6: 17 November 2011 Situationist International VS Archigram + Literature Through comparing the art experimentation and speculative architectures of the groups Situationist International and Archigram, this lecture will position itself amongst works which outlined a revolution against the modernist notion of rational functionalism, examining relationships between the everyday, mobility, technology, the environment, the individual, the now and new notions of architecture and urbanism. Primary readings: + Theory of the Derive in Theory of the Drive and Other Situationist Writings on the City by Guy Debord, Actar, 1996. + Unitary Urbanism, Constants New Babylon and The Structure of New Babylon in The Situationist City by Simon Sadler, Massachusetts Institute of Technology, 1998. + Excerpts from Expendability: Towards Throwaway Architecture, Archigram Magazine Issue No. 3, 1963 and Metropolis, Archigram Magazine Issue No. 5, 1964. Secondary readings: + Advertisements for Architecture by Bernard Tschumi, 1976-1977. + The Hyper-Architecture of Desire in Constants New Babylon: The Hyper-Architecture of Desire by Mark Wigley, 010 Publishers, 1998. Session 7: 24 November 2011 Fun Palace VS Pompidou + Technology Cedric Price once said, Technology is the answer, but what was the question? and this lecture will attempt to reveal the question by looking at flexibility in programme, cybernetics, the role of the user and most importantly how architecture can enable society for the better. However, Matta-Clarks cuts against the Pompidou may tell us a different story.

Primary readings: + Cedric Price, Cedric Price: Works II, Architectural Association, 1984 republished as Cedric Price: The Square Book, Wiley-Academy, p. 8-15 London 2003. + Pamela M. Lee, "On the Holes of History" in Object to be Destroyed: The Work of Gordon MattaClark, p. 162-209, the MIT Press, 2000. Secondary readings: + Davies, Colins, Introduction in High Tech Architecture, p. 6-21, Verlag Gerd Hatjie, 1988. + Matthews, Stanley, Joan Littlewood: From Agit-Prop to the Fun Palace, in From Agit-Prop to Free Space: The Architecture of Cedric Price, p. 44-63, Black Dog Publishing, 2007. Essay 1 to be submitted by 1.00pm on Friday 9th December 2011 Please submit 2 hard copies of your submission to the Co-ordinators Office Please submit a digital file of your submission to your seminar tutor Term 2 2012 Session 1: 12 January 2012 Eisenman/Terragni VS Koolhaas/Exodus + Collage This [lecture] is the work of two architects, looking at Peter Eisenmans PhD work at Cambridge University on Giuseppe Terragni, eventually published in Giuseppe Terragni: Transformations, Decompositions and Critiques and Rem Koolhaass AA Diploma project Exodus, Or the Voluntary Prisoners of Architecture. It will comparatively trace various themes in both projects which established these two architects seminal architectural devices and methods. Primary readings: + Terragni and the Idea of a Critical Text in Giuseppe Terragni: Transformations, Decompositions and Critiques by Peter Eisenman, The Monacelli Press, 2003. + Exodus, Or the Voluntary Prisoners of Architecture in First Works: emerging architectural experimentation of the 1960s & 1970s by Brett Steele, AA Publications, 2009. Secondary readings: + From Object to Relationship 11: Casa Guiliana Frigerio: Giuseppe Terragni Casa Del Fascio by Peter Eisenman in Perspecta, Vol. 13/14, MIT Press, 1971. + Introduction in Giuseppe Terragni: Transformations, Decompositions and Critiques by Peter Eisenman, The Monacelli Press, 2003. + Excerpt from OMAs Berlin: The Polemic Island in the City by Fritz Neumeyer and Francesca Rogier in Assemblage, No. 11, MIT Press, 1990. Session 2: 19 January 2012 Delirious NY VS Manhattan Transcripts + Film The city (New York) is your playground and writing is your weapon. Through research, congestion, event and murder this lecture will reveal the importance of analysis by looking at the seminal texts of Tshcumi and Koolhaas and how these retroactive (Rem) and literary (Bernard) manifestoes launched careers that have had a major influence on how we view architecture today as well as for tomorrow. Primary readings: + Tschumi, Bernard, The Manhattan Transcripts, Academy Editions, 1986. + Excerpts, Koolhaas, Rem, Delirious New York: A Retroactive Manifesto, Monacelli Press, 1994. Secondary readings: + Vidler, Anthony, Metropolitan Montage: The City as Film in Kracauer, Benjamin, and Eisenstein, in Warped Space: Art Architecture, and Anxiety in Modern Culture, The MIT Press, 2000. + Excerpts, Ferris, Hugh, The Metropolis of Tomorrow, Princeton Architectural Press, 1998. + Excerpts, Ferris, Hugh, The Power of Buildings, 1920-1950: A Master Draftsmans Record, Dover Publications, 2008.

Session 3: 26 January 2012 Andrea Branzi VS Aldo Rossi + Exhibition This lecture explores notions of the locus, typology, programming and spatial representations of the city through the work of two canonical Italian architects, Archizooms Andrea Branzi and the NeoRationalist Aldo Rossi, primarily through the reading of two projects, No-Stop City (Branzi, 1971) and Teatro del Mondo (Rossi, 1979/80). Primary readings: + No-Stop City: Residential Park Climatic Universal System by Archizoom Associates in Design Quarterly, No. 78/79, Conceptual Architecture, Walker Art Centre, 1970. + Introduction: Urban Artifacts and a Theory of the City and The Collective Memory in The Architecture of the City by Aldo Rossi, Oppositions, 1982. Secondary readings: + Excerpts from Towards a Critque of Architectural Ideology by Manfredo Tafuri (1969), in ed. K. Michael Hays, Architecture Theory Since 1968, Columbia University, 1998, pgs. 2-35. + Programming after Programme: Archizooms No-Stop City by Kazys Varnelis in Praxis 8: RE: Programming, ed. Amanda Reeser Lawrence, Praxis Inc., 2007. Session 4: 2 February 2012 Collage City VS Learning from Las Vegas + Drawing The architecture of collage battles the architecture of symbol in this lecture in a rehashing of the 1970s battle of architectural form between Colin Rowe (with Fred Koetter) and Robert Venturi (with Denise Scott Brown), expanding on topics such as the icon, Pop, the historical vs the new and the object vs the void. Primary readings: + The Crisis of the Object: The Predicament of Texture from Collage City by Fred Koetter and Colin Rowe, MIT Press, 1978. + Excerpts from Learning from Las Vegas: The Forgotten Symbolism of Architectural Form by Robert Venturi and Denise Scott Brown, MIT Press, 1977. Secondary readings: + Excerpts from Collage City and the Reconquest of Time from Collage City by Fred Koetter and Colin Rowe, MIT Press, 1978 in ed. K. Michael Hays, Architecture Theory Since 1968, Columbia University, 1998, pgs. 59-66. + Learning from Pop by Denise Scott Brown in Casabella 359-360, December 1971 in ed. K. Michael Hays, Architecture Theory Since 1968, Columbia University, 1998, pgs. Session 5: 16 February 2012 Eisenmans Cannaregio VS Tschumis Parc de la Villette + Landscape This lecture will investigate how post-modernist architects in the 1970-80s, notably Bernard Tschumi and Peter Eisenman took the rigid and orthogonal modernist grid as their toy to angle, twist, bend, conceal and erase lines that can link sites, buildings, history and events to the city. Primary readings: + Tschumi, Bernard, The Architectural Paradox, p. 27-52; and Violence in Architecture, p. 121140, in Architecture and Disjunction, MIT Press, 1996. + Krauss, Rosalind, Grids, in The Originality of the avant-garde and other modernist myths, The MIT Press, 1986, p. 9-22. Secondary readings: + Baljon, Lodewijk, Concours International: Parc de la Villette, Paris, 1982-3, in Designing Parks, p. 25-47, Garden Art Press, 1995 [Note: also see the competition Ground Plans sections on p. 240]. + Mumford, Eric, The Emergence of Mat or Field Buildings p. 48-65, in Case: Le Corbusiers Venice Hospital and the Mat Building Revival (Ed. Sarkis, Hashim), Prestal Verlag, 2001. + Excerpts, Derrida, Jacques and Eisenman, Peter, Chora L Works, Edited by Kipnis, Jeffery and Lesser, Thomas, Monacelli Press, 1997.

Session 6: 23 February 2012 John Hejduk VS Diller + Scofidio + Theatre Through pitting the architectural work Vladivostok by John Hejduk against the early theatrical works of Elizabeth Diller and Ricardo Scofidio (Diller + Scofidio), this lecture will explore the potential of these architectural projects to take on forms of prosthesis, engage temporality and mediate the subject/object dilemma. Primary readings: + Excerpts from Vladivostok by John Hejduk, Rizzoli: New York, 1989. + A Delay in Glass by Diller, Elizabeth and Ricardo Scofidio in Assemblage, No. 6, MIT Press: 1988, pgs 65-66. + Vagabond Architecture in The Architectural Uncanny by Anthony Vidler, MIT Press, 1992, pgs 207-214. Secondary readings: + The Shells of Architectural Thought by Detlef Mertins and The Nature Theatre of John Hejduk by Edward Mitchell in Hejduks Chronotope. ed. K. Michael Hays. Princeton Architectural Press (pub.), Canadian Centre for Architecture, 1996. + Excerpts in Flesh: Architectural Probes, by Diller, Elizabeth and Ricardo Scofidio, Princeton Architecural Press: 1996. Session 7: 1 March 2012 S, M, L, XL VS Translations from Building + Criticism This lecture is to be an experimentation of the role of the critic in architectural discourse with the format of the presentation having dueling lecturers: one lecturer takes on the task of arguing from the position of Rem Koolhaas, as the architect-critic, and the other takes the role of Robin Evans, as the architectural critic... stay tuned. Primary readings: + Excerpts from Translations from Drawing to Building and Other Essays by Robin Evans, Architectural Association, 1997. + Excerpts from S, M, L, XL by Rem Koolhaas and Bruce Mau, Taschen, 1997. Essay 1 to be submitted by 1.00pm on Monday 26th March 2011 Please submit 2 hard copies of your submission to the Co-ordinators Office Please submit a digital file of your submission to your seminar tutor

HISTORY AND THEORY STUDIES DIPLOMA SCHOOL Term 1 only The HTS courses are listed in alphabetical order by course tutor surname PIER VITTORIO AURELI ARCHITECTURE AND THE CONSTRUCTION OF SUBJECTIVITY
The seminar investigates the relationship between architectural form and the construction of modern and contemporary forms of subjectivity. There is no direct link between form and subjectivity. Yet the history of architecture and its project as always implied a history of the human subject understood as the potential to act, to communicate, to desire, and most importantly to produce. From discussions on proportions, to the invention of perspective, from theories about beauty, to the role of engineering in the construction process, architecture has always addressed a specific, historically situated subjectivity contended by forms of power control and instances of freedom. In light of this hypothesis the seminar will revisit the history of architecture from Greek-Roman antiquity to Modernity by analyzing archetypical examples such as books, buildings, and architectural projects. From Filippo Brunelleschis modular architecture, to Leon Battista Albertis theory of perspective, from Claude-Nicolas Ledouxs Saline at Chaux to Cedric Prices Life Conditioning, the seminar will analyze in which way architecture and more generally architectural culture has implied, addressed, defined the subjects way to live, to see, to act, and to produce within urban space. The seminar will address the relationship between architecture and the city in light of political theory and political economy. 4th October (Session 1 on TUESDAY 4th October at 1.00pm all other sessions on WEDNESDAYS as timetabled) Labour and the question of subjectivity: Homo Politicus vs. Homo Economicus; the Political vs. the Social Readings: Hannah Arendt, The Human Condition (1958), (Chicago: Chicago University Press, 1998) Karl Marx, Introduction, in Grundrisse (1857), (London: Penguin, 1991) Gorazd Kovacic, Arendts Critique of Marx, and Post-Fordism Socialism: What is the sense of Economy? in Gail Kirn (editor), Post-Fordism and Its Discontents (Mastricht: LULU.com, 2010), 97-126. Carl Schmitt, The Concept of the Political (1927), (Chicago University Press: 2007) Michel Foucault, Security, Territory, Population: Lectures at the College de France 1977-78 (New York: Picador, 2009) Giorgio Agamben, What is an Apparatus? (Palo Alto: Stanford University Press, 2009). 12th October The Greek Agora and the Roman Forum Readings: A.W. Lawrence, Greek Architecture (New York: Yale University Press, 1996) David Watkin, The Roman Forum (Cambridge, Ma.: Harvard University Press, 2009) 19th October Spaces for Seclusion: The Villa and the Monastery Readings: James Ackerman, The Villa: Form and Ideologies of Country Houses (London: Thames and Hudson, 1995) Wolfgang Braunfels, Monasteries of Western Europe: The Architecture of the Orders (London: Thames and Hudson, 1993)

26th October The rise of Perspectival Space and the invention of the Architectural project Readings: Erwin Panofsky, Perspective as Symbolic Form (New York: Zone Books, 1996) Mario Carpo, The Alphabet and the Algorithm (Cambridge, Ma.: The Mit Press, 2011) 9th November The space for Circulation and the Space for Production Readings: Sigfried Giedion, Space, Time, and Architecture: The Growth of a New Tradition (Cambridge Ma.: Harvard University Press, 1941, 1997) Anthony Vidler, Claude-Nicolas Ledoux: Architecture and Utopia in the Era of the French Revolution (Zurich: Birkhauser, 2006) 16th November The rise of Urbanization: From Colonial Cities to the Groszstadt Readings: Ildefonso Cerd, The five Bases of the General Theory of Urbanization, ed. Arturo Soria y Puig, trans. Bernard Miller and Mary Fons I Fleming (Madrid: Electa Espana, 1999). Otto Wagner, Modern Architecture: a Guidebook for His students to This Field of Art (1902), (Los Angeles: Getty Research Institute, 1989) Richard Pommer, David Spaeth, Kevin Harrington, In the Shadow of Mies (New York: Rizzoli, 1988) Pier Vittorio Aureli, Architecture for Barbarians: Ludwig Hilberseimer and the rise of the Generic City, in AA files n. 63 23rd November Architecture and Post-Fordism Readings: Rem Koolhaas: Delirious New York (1978), (New York: Monacelli Press, 1995) Stanley Mathews, From Agit-Prop to Free Space: The Architecture of Cedric Price (London: Black Dog Publishing, 2007) Gal Kirn, Reading Post-Fordism Theories as a Specific Return to Marx and a Critique of Political Economy, in Gail Kirn (editor), Post-Fordism and Its Discontents (Mastricht: LULU.com, 2010), 9-20.

MARK CAMPBELL DOMESTIC RUINATION

Scratch beneath the surface of normality and you are likely to find the complete opposite the perverse, paranoiac, or maladjusted. This course will examine the architectural dynamics of normalcy and perversion in the domesticity of the post-war American suburb through a critical reading of a series of textural, cultural, and filmic references. During this research we will confront such notions as architectural and social conformity, imageability, sexual obsolescence, the meditative value of television, and the misplaced trust in technology. The course evolves out of a formulation of the compensatory role architecture played in covering over the paranoiac space of the Cold War, effecting the possibility that as JG Ballard once offered nothing exciting or new or interesting is ever going to happen again, the future is just going to be a vast, conforming suburb of the soul. Course Sessions: Session 1: Do you feel lucky?: Richard Hofstadter, The Paranoid Style in American Politics (1964), The Zapruder Film (1963) and Parallax View (1974) Session 2: This is not my Beautiful House: Julius Shulman and the invention of California, Reyner Banham, Los Angeles: The Architecture of Four Ecologies (1971), The Truman Show (1998) Session 3: This is not my Beautiful Wife: The Stepford Wives (1975), Invasion of the Body Snatchers (1956; 1978), Far from Heaven (2002), Beatriz Colomina, Sexuality and Space (1992) & Cold War Hot Houses (2004) Session 4: Shes Lost Control Again: Siegfried Giedion, Mechanization Takes Command (1946), Reyner Banham, The Great Gizmo (1965), Jean Baudrillard, The System of Objects (1968), and Mr Blandings builds his Dream House (1948) Session 5: Thats not Natural: The Swimmer (1968), Straw Dogs (1971), The Wicker Man (1973), Blue Velvet (1986) and The American Lawn: Surface of Everyday Life (1999) Session 6: On the Couch: Georges Canguilhem, The Normal and the Pathological (1943), Frederic Jameson, The Cultural Logic of Late Capitalism' (1992), Klute (1971) and The Ice Storm (1997) Session 7: Suburban Apocalypse: Cul-de-Sac (1966), Clockwork Orange (1971), Death Wish (1974), Revolutionary Road (2008), JG Ballard, Super-Cannes (2000) and Rem Koolhaas, Junkspace (2002)

Bibliography: Reyner Banham, Los Angeles: The Architecture of Four Ecologies (1971), Design by Choice (1981) Jean Baudrillard, System of Objects (1968) Victor Burgin, In/Different Spaces: Place and Memory in Visual Culture (1996) Georges Canguilhem, The Normal and the Pathological (1943) Beatriz Colomina, Sexuality and Space (1992), Cold War Hot Houses (2004) Don DeLillo, Americana (1971), White Noise (1985)

Joan Didion, The White Album (1979) Sigmund Freud, Psycho-Analytic Notes on an Autobiographical Account of a Case of Paranoia (Dementia Paranoides) (1911), A Case Of Paranoia Running Counter To The Psycho-Analytic Theory Of The Disease (1915) Siegfried Giedion, Mechanization Takes Command (1946) Richard Hofstadter, The Paranoid Style in American Politics (1964) Frederic Jameson, The Cultural Logic of Late Capitalism (1992) Rem Koolhaas, Delirious New York (1978) Adam Phillips, On Flirtation (1994), Side Effects (2006) Eric Santner, My Own Private Germany: Daniel Paul Schreber's Secret History of Modernity (1996) Daniel Paul Schreber, Memoirs of My Nervous Illness (1903) Felicity Scott, Architecture or Techno-Utopia: Politics after Modernism (2007) Georges Teyssot (ed.), The American Lawn: Surface of Everyday Life (1999) Hunter S. Thompson, Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream (1972) Anthony Vidler, Warped Space: Art, Architecture, and Anxiety in Modern Culture (2002) Mark Campbell is a PhD candidate in the School of Architecture at Princeton University. His research interests include contemporary American culture between 1960 and 1975, paranoia, cultural exhaustion and dreams. A practising architect, he is a founding principal of paperaeroplane and has taught at Auckland University, Princeton University and the Cooper Union.

MARK COUSINS THE HISTORY OF HOMECOMING

The home is perhaps the most enigmatic object in architecture and in architectural theory. It is made up of two terms which do not quite fit over each other: the first term known variously as a house, a hut, or a shelter is thought of as a physical structure in which people live. The home is a broader term which incorporates the idea of where one came from: the existence of a family and of the memories attached to it. The existence of these categories is not universal and their overlap is certainly uneven. As a term, the home has migrated through the metaphor of the family to become a national territory, as the Fatherland or the Motherland. In modernity the home acquires an additional range of attributes which underline the owner or the inhabitants as citizens, as credit-worthy, and in short all those attributes which the homeless lack. For a great span of time the idea of returning and especially of returning home have acquired poetic and political significance. It is largely this issue of homecoming that the course will concentrate upon, in order to investigate the discourse of the home. Confronted with a huge body of literature the course will narrow the topics to particular instances of homecoming. It will ask what it is that the subject has lost by needing to return home. It will start by looking at the most famous poetic case of homecoming that of Odysseus told by Homer. It shows how

this emotional appeal of returning not only has an effect on the idea of narrative, but also within philosophy and religion; knowledge like God could be considered as objects which are understood by returning to them. Banishment and exile were among the most serious punishments which could be made in the premodern period. The course considers the rise of nostalgia in the XVII C, as a distinct illness, affecting those like soldiers, who were cut of from their homeland. It considers, on the other hand, the other side of the coin, the way in which home became territorialized under a rising discourse of nationalism, together with the parallel rise of resistance to the immigration of strangers. Part of this involves and understanding of the role of the family and terms of kinship in which the father, the mother, and the child are projected on to a political geography. As a way of studying these themes in a more contemporary context, the course will provide a detailed analysis of the film by Jean-Luc Godard Le mpris. (Contempt). The film concerns the making of the film about Odysseus and contains poetic quotations from Dante and Hlderlin on the faith of Odysseus. The analysis contrast the bourgouise apartment of Michel Piccoli and Brigitte Bardot, and the films location in the twentieth century house, la Casa Malaparte on Capri. The course ends with an account of the current contradictions between the house and the home and the continuing inability of architecture to solve this problem. Lectures 1. The home/house and its role in architecture. If architecture thinks that the house is where you live what does architecture think that a life is, and what is living from the point of view of architecture. 2. The loss of home Why has the loss or the death of home become a model for loss in general? 3. Odysseus and the delays of his return to Ithaca Why did it take Odysseus twenty years to return from Troy, and why geography was based upon narrative? 4. The homecoming and the return as a figure of knowledge Why did knowledge increasingly take the form of a return to the object, to the second site of an object? 5. The territorialisation of home Hegel considered that to the state and kinship to be completely separate but modern states have employed the language of the family to support the identity and the power of the state. 6. Dwelling and Heidegger Architects like many other disciplines have been influenced by Heideggers discussion of dwelling and place, perhaps especially in the rise of contemporary theories of non-place, the analysis will attempt to demonstrate the implicit political programme involved. 7. Le mpris. (Contempt) Unlike a great deal of commentary on Godards film the analysis pays attention to the fact that Homers poem is central to the film, this can be demonstrated by reference to the novel by Alberto Moravia, which was the basis for the initial film script in particular the analysis provides a contrast between the modern apartment in Contempt and the house of Odysseus. Bibliography Students are encouraged to read Homers Odyssey. There are several English translations, and of course into other languages. Since antiquity there have been many summaries of the poem and the best of them is J.P.Vernant, The Universe, The Gods, and Mortals. Other useful books include the following: M. I. Finley. The World of Odysseus Alberto Moravia. Contempt Cavafy. The Collective Poems M. Cousins. Away from home. (Published by the Wexner Centre)

PAUL DAVIES THE THEORY 750

Please visit www.theory750.blogspot.com I want you to read and mentally digest an essay from this 'little red book' (see image on blogspot). The essay is easily found on the web as long as you search for Alain Badiou This Crisis Is the Spectacle: Where Is the Real? It's one of those modest pieces of writing that could blow your socks off. Often Badiou, whilst frighteningly clever, is a bit dense, but this piece is written for a newspaper, hence is more readable. Please read Jonathan Meades on Zaha Hadid in combination with this text. Also, please each of you set up your own individual Theory750 blogs via blogspot.com Discussion: It's difficult to gain a perspective on Badiou at this stage. His introduction at this point was to highlight our necessary confrontation with the question 'What is the Real?' This of course implies we are 'living in a lie', as evidenced by our highly theatrical (and highly nuanced) media and politics where vested interests, not the benefit of all, are paraded before us in a clear period of global crisis. If you are wondering what this global crisis might be, four corners of the discussion might be: Climate Change, Increased National and Global Inequality, Financial Iniquity and the challenges of the Bio-technological. The course will be delivered over 7 sessions on the following dates (2.00pm 3.30pm): Wednesday 5th October Wednesday 12th October Wednesday 19th October Wednesday 26th October (No class on Wednesday 2nd November to accommodate AA Open Week activities) Wednesday 9th November Wednesday 16th November Wednesday 23rd November

OLIVER DOMEISEN ORNAMENT: BARBARIC SPLENDOUR OR ARCHITECTURAL SOPHISTICATION?

In this reading seminar we will explore an alternative history of western architecture through the filter of ornament. Using source texts from the last 250 years we will discover how ornament had repeatedly become the battleground upon which the future of architecture was forged. The Rococo of the 18th century, the stylistic eclecticism of the 19th century, and the Art Nouveau of the early 20th century have habitually been described as architectural periods of decline and decadence. But who is it that condemns such ornamental virtuosity? And what are their ulterior motives? Are there alternative points of view? Authors such as William Hogarth, Gottfried Semper, Owen Jones, Alois Riegl, John Ruskin, Louis Sullivan or Adolf Loos have all defined ornament for their own age and for their own wilful objectives. We will discuss the historical contexts, underlying pathologies and enduring legacies of these seminal texts, and we will determine their relevance in establishing a desperately needed contemporary theoretical framework. We will also discover how each author provides us with interpretative tools that allow us to critically assess contemporary ornamental production, be it by Herzog & de Meuron, FOA or yourself.

The course will give you a glimpse into one of architectures biggest conspiracies. It will reveal how political, societal and personal agendas have become manifest in the presence or absence of ornament. It will also pitch artistic expression against classical orthodoxy in the search for a contemporary ornamental language that is eloquent and meaningful. First and foremost this course will equip you with the knowledge and vocabulary necessary to partake in this rapidly emerging discourse. Sessions will take place on Tuesdays at 3:30pm. Session 1 (04/10/2011): Introduction: The Four Elements of Ornament (Naturalism, Geometry, Materialism, Iconography) 18th Century: The Rocaille: Line of Beauty or Micromegalic Intemperance? WILLIAM HOGARTH, The Analysis of Beauty, 1753. F.A. KRUBSACIUS, Reflections on the Origin, Growth, and Decline of Decoration in the Fine Arts, 1759. ISABELLE FRANK, The Theory of Decorative Art (chapter III: Introduction pp245-253), Yale University 2000. Karsten Harries, The Bavarian Rococo Church. Between Faith and Aestheticism (pp210-219; 243-246), Yale University 1983. Coffin/Davidson/Lupton/Hunter-Stiebel, Rococo. The Continuing Curve, 1730 2008 (pp3-10), Smithsonian Institution 2008. 19th Century (1): Ornament as Symbolic Mask or Expression of Structure? GOTTFRIED SEMPER, Style in the Technical and Tectonic Arts; or, Practical Aesthetics 1860. ISABELLE FRANK, The Theory of Decorative Art (chapter II: Introduction pp135-137), Yale University 2000. Debra Schafter, The Order of Ornament, The Structure of Style, (chapter 2: Gottfried Semper and Evidence of Function pp32-44), Cambridge University Press 2003. Mari Hvattum, Gottfried Semper and the Problem of Historicism (pp57-83), Cambridge University Press 2004. Hartmut Mayer, Die Tektonik der Hellenen: Kontext und Wirkung der Architekturtheorie von Karl Btticher (pp92-98), Edition Axel Menges 2004. (German only) 19th Century (2): Style as Formal Eclecticism or Historical Evolution? OWEN JONES, The Grammar of Ornament, 1856. ALOIS RIEGL, Problems of Style, 1893. Debra Schafter, The Order of Ornament, The Structure of Style, (chapter 2: Owen Jones and Natural Structure pp22-32; Alois Riegl and the Psychological Disposition pp44-59), Cambridge University Press 2003. Heinrich Wlfflin, Prolegomena to a Psychology of Architecture (VII. Ornament; VIII. Principles of Historical Judgment), 1886. 19th Century (3): Ornament as Indexical Icon or Machined Decoration? JOHN RUSKIN, The Seven Lamps of Architecture (The Lamp of Beauty; - Truth; - Life; - Sacrifice), 1849.

Session 2 (11/10/2011): Required reading:

Recommended reading:

Session 3 (18/10/2011) Required reading:

Recommended reading:

Session 4 (25/10/2011) Required reading: Recommended reading:

Session 5 (08/11/2011) Required reading:

Recommended reading:

P. RIOUX DE MAILLOU, The Decorative Arts and the Machine, 1895. Debra Schafter, The Order of Ornament, The Structure of Style, (chapter 2: John Ruskin and the Representation of Divine Order pp17-22; Ornament as Emblem pp63-72), Cambridge University Press 2003. Augustus Welby Pugin, On Metal-work, 1841. William Morris, The Arts and Crafts of To-day, 1889. 20th C. (1): Ornament as Emotional Expression or Machined Impression? LOUIS H. SULLIVAN, Ornament in Architecture, 1892. FRANK LLOYD WRIGHT, The Art and Craft of the Machine, 1901. BRETT STEELE, Bending and Stacking by Code: Machines and Ornament in Architecture (in: Re-sampling Ornament pp26-28), Merian 2008. Kent Bloomer, The Nature of Ornament (chapter 11: Ornament and Modern Technology pp137-171), W.W. Norton & Company 2000. David Van Zanten, Sullivans City (chapter 4: Architecture as Ornament pp114-119; chapter 5: Finis pp134-151), W.W. Norton & Company 2000. Louis H. Sullivan, The Tall Office Building Artistically Considered, 1896 (in: Kindergarten Chats and Other Writings pp202-213), Dover Publ. 1979 20th C. (2): Ornament as Crime or Redemption? ADOLF LOOS, Ornament and Crime, 1908. ADOLF LOOS, Ornament and Education, 1924 LE CORBUSIER, The Decorative Art of Today, 1925. Mark Wigley, White Walls, Designer Dresses (chapter 1: The Clothing of Space; Prosthetic Fabrications; Architecture after the Eye pp9-33; chapter 3: The Architects Dresses pp67-76), MIT 1995. Panayotis Tournikiotis, Adolf Loos (chapter 2: Writings pp22-31), Princeton 2002. Debra Schafter, The Order of Ornament, The Structure of Style, (chapter 5: The Subsequent Impact pp183-194), Cambridge University Press 2003. 21st C.: Future Ornament: A Production of Meaning or Pattern? KENT BLOOMER, The Nature of Ornament (chapter 13: On the Absence of Ornament pp205-229), W.W. Norton & Company 2000. ANDREA GLEINIGER, Editorial; New Patterns? Old Patterns? On the Emotional Appeal of Ornament. (In: PATTERN Ornament, Structure and Behaviour pp7-24), Birkhuser Verlag 2009. Robert Venturi, Iconography and Electronics upon a Generic Architecture (A Not So Gentle Manifesto (1994) pp11-38), MIT 1996. Henri Focillon, Forms in the Realm of Space, 1934. Kent Bloomer, Ornament or Decoration? (In: Re-sampling Ornament pp46-48), Merian 2008.

Session 6 (15/11/2011) Required reading:

Recommended reading:

Session 7 (22/11/2010) Required reading:

Recommended reading:

Required reading:

Recommended reading:

Required Submission: Illustrated essay, min. 3000 words (incl. captions). The essay will describe and compare the ornament of two buildings, one historical and one contemporary, in light of relevant theories discussed during the seminar. You will present your selection of buildings and bibliography after session 7 (or earlier). Submissions are due Monday 9th January, 13:00.

Oliver Domeisen AA dipl. produces, teaches, curates and writes about architecture. As a recipient of the RIBA Research Trust Award he is currently writing The Four Elements of Ornament. He produced the Re-sampling Ornament exhibition and catalogue for the Swiss Architecture Museum Basel and Arkitekturmuseet Stockholm in 2008-09; has lectured on the topic at the V&A, Eikones Institute Basel, Yale University, Art Basel and the Werner Oechslin Foundation. His writings on ornament were published in Detail, S AM, Volume, A.D., Archithese et al. He has been a Unit Master at the AA since 2001, now of Diploma Unit 13 (currently on sabbatical, returning in 2012). Previously a project architect at Zaha Hadid he founded dlm architectural designers ltd in 2000.

MARIA FEDORCHENKO DESIGN INFRASTRUCTURES

This course focuses on gaps between theoretical conceptions of infrastructure and their application in design. Conventionally, infrastructure was understood as an urban system of operation transportation, communication or service. However, every time a notion of infrastructure expanded to include further complex systems of social and spatial production, it would acquire a new role in architecture. In the last two decades, reconceptualized infrastructure has (once again) become a favourite with contemporary practices as an advanced design system that could extend the way the project works (operation) into how it looks (appearance). Relying on the refurbished tool of the diagram, infrastructure has been associated with organization, program, process, and performance. However, visualized design products appear at odds with declarations of extended adjustment, relaxed control or light programming. Open-ended diagrammatic infrastructures yielding set forms and patterns point to potential inconsistencies. Relating theoretical advances to practical methods, the course will address recurring problems and imminent solutions. We will unpack core design tensions in three thematic parts. First, we will deal more generally with infrastructural products and processes of spatial production. Conscious of the feverish interest in network flows and field conditions, we will consider how architectural armatures enable and subvert urban processes. Defining such double agency, we will address the simultaneity of control and emergence. We will clarify how dissimilar systems and elements manage growth and activities, noting what fear of megastructures and love of ecologies have in common. As selective management is tied to translations of abstract diagrams into concrete forms, we revisit transfers of power between form and program and their mutual influence within diagrammatic, typological and geometric frameworks. In each seminar session, symptomatic projects by OMA, MVRDV, Bernard Tschumi, Field Operations, SANAA and UN Studio, among others, will be reframed using theoretical arguments and design precedents. Challenging conceptual, genealogical and visual associations, we will augment the discourse and practice of design infrastructures. Tackling current difficulties with arrangement, management and materialization, we will uncover alternative design methods, models and techniques that can mediate between several domains of the project. Exposing potentials and limitations of key infrastructures, we will speculate on new modes of consistency between operation and appearance. By building up a theoretical vocabulary, historical foundation and practical arsenal, this course will prepare you to tackle persistent design conflicts in an informed way. PRODUCT / PROCESS Session 1: Introducing the Return of Infrastructures and Systems Operation vs. Appearance: Network Flows, Control Devices and Production of Space Required reading: Stephen Graham and Simon Marvin, Splintering Urbanism: Networked Infrastructures, Technological Mobilities, and the Urban Condition (London and New York: Routledge, 2001) (Introduction)

Stan Allen, Infrastructural Urbanism, in Point and Lines: Diagrams and Projects for the City (New York: Princeton Architectural Press, 1999) Further (optional) reading: Mark Wigley, Network Fever, in Grey Room 4, 2001, 82-122 Peter Hall, Cities of Tomorrow: An Intellectual History of Urban Planning and Design in the Twentieth Century (Oxford, UK; Malden, MA: Blackwell Publishers, 2000) (esp. Chapter 4) Albert Pope, The Inundation of Space, in Ladders (New York: Princeton Architectural Press, 1996) Henri Lefebvre, The Production of Space (London: Blackwell, 1991) Practices: Stan Allen, UN Studio, Reiser & Umemoto, NOX + Buckminster Fuller, Situationists / Constant, Team X, Le Corbusier Session 2: Production of Objects vs. Networks and Fields Shifting Patterns, Boundaries and Surfaces Required reading: Lars Lerup, Stim and Dross, in After the City (Cambridge, MA: The MIT Press, 2000) Alex Wall, Programming the Urban Surface, in James Corner, ed., Recovering Landscape: Essays in Contemporary Landscape Architecture (New York: Princeton Architectural Press, 1999) Further (optional) reading: Andrea Branzi, Weak and Diffuse Modernity: The World of Projects at the Beginning of the 21st Century (Milan: Skira, 2006) Okwui Enwezor, Terminal Modernity: Rem Koolhaass Discourse on Entropy, in Vronique Patteuw, ed., What is OMA: Considering Rem Koolhaas and the Office for Metropolitan Architecture? (Rotterdam: NAi Publishers, 2003), 103-119 Hashim Sarkis, Pablo Allard and Timothy Hyde, eds., CASE: Le Corbusiers Venice Hospital and the Matt Building Revival (Munich; New York, NY: Prestel, 2001) Colin Rowe & Fred Koetter, Collision City and the Politics of Bricolage, in Collage City (Cambridge, MA: MIT Press, 1978), 86-117 Practices: OMA, MVRDV, CHORA, Field Operations, FOA + Steven Holl, Agrest and Gandelsonas, Archizoom, Superstudio

CONTROL / EMERGENCE Session 3: Managing Complexity and Transience Meshworks, Megastructures and Heterogeneous Orders Required reading: Rem Koolhaas, Whatever Happened to Urbanism, in Rem Koolhaas, et al., SMLXL (New York: Monacelli Press, 1995), 958-971 Mark Wigley, Whatever Happened to Total Design? in Harvard Design Magazine Summer 1998, 18-25 Jos Bosman, Form Follows Function: From Meta-City to Mega-City, in Daidalos, n. 74, Jan. 2000, 30-37 Further (optional) reading: Reyner Banham, Fun and Flexibility, in Megastructures: Urban Futures of the Recent Past (New York: Harper & Row Publishers, 1976) Sarah DeYoung, Memories of the Urban Future: The Rise and Fall of the Megastructure, in Harriet Schoenholz Bee, ed., The Changing of the Avant-Garde: Visionary Architectural Drawings from the Howard Gilman Collection (New York: Museum of Modern Art, 2002) Alison and Peter Smithson, Team 10 Meetings 1953-1984 (New York: Rizzoli, 1991) Practices: Diller & Scofidio, Bernard Tschumi, MVRDV + Victor Gruen, Archigram, Yona Friedman, Team X

Session 4: Formalizing Interactivity and Process Constructed Ecologies, Synthetic Landscapes and Graphic Patterns Required reading: Julia Czerniak, Appearance, Performance: Landscape at Downsview in Case: Downsview Park Toronto (Munich; New York, NY: Prestel; Cambridge, Mass.: Harvard University, Graduate School of Design, 2001) Scott Colman, Float On: A Succession of Progressive Architectural Ecologies, in Lisa Tilder and Beth Blostein, eds., Design Ecologies: Essays on the Nature of Design (New York: Princeton Architectural Press, 2010) Further (optional) reading: Akira Asada and Arata Isozaki, From Molar Metabolism to Molecular Metabolism, in Cynthia C. Davidson, ed., Anyhow (Cambridge, MA and London: The MIT Press, 1998) Stan Allen, Urbanisms in the Plural: The Information Thread, in Dana Cuff and Roger Sherman, eds., Fast-Forward Urbanism: Rethinking Architectures Engagement with the City (New York: Princeton Architectural Press, 2011) Charles Waldheim, Landscape as Urbanism in Charles Waldheim, ed., Landscape Urbanism Reader (New York: Princeton Architectural press, 2006) Mohsen Mostafavi and Ciro Najle, ed., Landscape Urbanism: A Manual for the Machinic Landscape (London: AA Publications, 2003) Practices: OMA, Field Operations, West 8 + MVRDV, Bernard Tschumi, WW, Metabolists FORM / PROGRAM Session 5: Infrastructures of Tight / Loose Fit Between Form and Program Typological Frameworks, Program Diagrams and Performance Required reading: Rem Koolhaas, The Frontier in the Sky, in Delirious New York: A Retroactive Manifesto for Manhattan (New York: Monacelli Press, 1994), 82-109 Anthony Vidler, Diagrams of Utopia, in Daidalos 74, 2000 Toyo Ito, Diagram Architecture, in El Croquis 77, 1996, 18-24 Further (optional) reading: Aldo Rossi, Primary Elements and the Concept of Area, in The Architecture of the City (Cambridge, MA: MIT Press, 1989) Anthony Vidler, The Third Typology, in Rational Architecture Rationelle: The Reconstruction of the European City (Brussels: Editions Archives dArchitecture Moderne, 1978) Christopher Alexander, The Goodness of Fit, in Notes on the Synthesis of Form (Cambridge, MA: Harvard University Press, 1971) Ron Witte, Darwinian Regulating Lines: Tethers, Eddies and Reverberations, in Praxis 8, 2006 Practices: OMA, SANAA, WW + Bernard Tschumi, Toyo Ito, MVRDV, Neutelings & Riedjik, Archigram, Cedric Price Session 6: Infrastructural Formalism and Diagrammatic Balance Geometric Systems, Programmatic Flows and Formal Models Required reading: Jeffrey Kipnis, Towards a New Architecture, in Architectural Design Profile 102, 1993 Greg Lynn, Forms of Expression: The Proto-Functional Potential of Diagrams in Architectural Design, in El Croquis, 72, 1 (1995) Further (optional) reading:

UN Studio, Design Models, in Design Models: Architecture, Urbanism, Infrastructure (New York: Rizzoli, 2006) Reiser + Umemoto, The Unformed Generic: Form Acquiring Content; Matter / Force Relationship; Diagram Deployment, in Atlas of Novel Tectonics (New York: Princeton Architectural Press, 2006) Peter Macapia, Consistency: A Conversation with Alejandro Zaera-Polo, in Log 3, Fall 2004, 37-49 Practices: Peter Eisenman, UN Studio, FOA + Greg Lynn, Reiser & Umemoto, Asymptote, Morphosis CONCLUSIONS AND PROJECTIONS Session 7: Diagrammatic Infrastructures and Design Consistency Appearance | Operation: Aligning Theories, Models and Techniques Student Presentations Required reading: R. E. Somol, Dummy Text or the Diagrammatic Basis of Contemporary Architecture, in Peter Eisenman, Diagram Diaries (New York: Universe, 1999), 6-25 Pier Vittorio Aureli and Gabriele Mastrigli, Architecture After the Diagram, in Lotus International no. 127, 2006, 96-105 Further (optional) reading: Alain Guiheux, Systems, in Vronique Patteuw, ed., Reading MVRDV (Rotterdam: NAi Publishers, 2003), 104-121 Sanford Kwinter, The Hammer and the Song, in OASE 48, 31-44 R.E. Somol, "Green Dots 101", in Hunch 11 (2007), 28-37 (Please note: Alternative and/or additional readings will be suggested during seminar sessions) Submissions: There will be several options for the course submission. It could be a contemporary project case-study in at least two dissimilar theoretical or historical settings, or an examination of a particular design tension in the context of at least two symptomatic projects / practices. The submissions will actively combine written and graphic outputs, using the typical format of a 3,000-word illustrated essay as a basis. You will present your work-in-progress during Session 7 for discussion. Maria Fedorchenko studied at UCLA, Princeton University and Moscow Institute of Architecture. She practiced in Russia, Greece, and the US (including Michael Graves & Associates) and directs an architecture and urban design consultancy. Having taught studios and seminars at UC Berkeley, UCLA and CCA since 2003, she has been a Course Master at the AA since 2008, currently running Intermediate Unit 7. Marias research and design has been published internationally, including The International Journal of Constructed Environment, Architectural Theory Review, Art of Russia as well as ACSA Meetings Proceedings. Current work focuses on contemporary practices, diagrammatic methodologies and design infrastructures that link form and program.

FRANCESCA HUGHES OUTER SPACE AND INNER SPACE: THE COMPUTER OUTSIDE ITSELF
Now that CAD is fifty or so years old, this course invites the student to step outside of digital immersion and examine the spatial and, as the course will argue, essentially architectural traditions, duties and devices the early 1960s computer simply extruded and accelerated to what they are today. Though now associated almost uniquely with the computer, memory storage, the mindless repetition of calculation (an architecture of boredom only an algorithm can deliver) and the window that gives onto a parallel world of representation are of course all physical, performative and conceptual architectures that pre-existed the digital, indeed were ancient. (Note: architecture was in the computer before we filled it with our architectural tasks). The sessions will set out a critical, cultural forensics of early computing, analysing film footage, astronaut transcripts as well as more conventional sources, in order to better understand how these architectures were rehoused in the computer; and what it means as architects to use computers in the ways that we do. The sessions will trace the complex separation of what is extrinsic and what is intrinsic to the computer, not a distinction between virtual and real, but between what the computer invented and what it simply inherited. Thus we will revisit Ivan Sutherlands 1962 Sketchpad window via Albertis screen; Vannevar Bushs 1945 Memex desk via Ciceros account of Ancient Greek spatial mnemonics and Giulio Camillos renaissance Memory Theatre; the looped repetition logic of programming language via George Perecs literary algorithms; the spatial dominance of digital zoom via the cinematography of Eames and Hitchcock; and the transformation matrix via transcripts of astronaut Ed Whites first space walk. The course is in two parts. The first 4 sessions set out a brief genealogy of the computers key duties (data storage & retrieval, calculation), devices (the window) and modus operandi (exhaustive repetition). The second 2 sessions examine crucial cross fertilisation between analogue and digital space in the computers formative years: the cinematic multiscalarity of the zoom function, and the navigational strategies employed in outer space in which the astronaut too, like a digital object, can only pitch, yaw and roll in gravity-free space. The last extended session is reserved for an essay writing workshop and students presentations of their proposed research. All sessions will be illustrated with slide and video material and followed by discussion informed by weekly reading/viewing of specified chapters or passages in texts/films listed below. Gegerly Kovcs will assist in the teaching of the more technical sessions. Session 1: Storage: The Art of Memory (& Retrieval) or from theatre to desk With reference to Frances Yatess seminal The Art of Memory, this session will look at how the Ancient Greek use of mnemonic architectures and their spatialisation of memory culminated in Giulio Camillos unfinished C16th Theatre of Memory. The session will argue that the legacy of the data storage edifice is compressed and installed into the desk (then ultimately the desktop) through an analysis of Vannevar Bushs 1945 description of his MEMEX desk and the 1957 film Desk Set in which the memory and retrieval ability of Spencer Tracys very female EMERAC computer is pitted against that of the ever more female librarian Katherine Hepburn. In all the spatialisation and indeed housing of the library and its retrieval logic are key. Required reading/viewing: Bush, Vannevar: As we may think, The New Media Reader, eds. Wardrip_Fruin and Montfort (Cambridge: MIT, 2003). Yates, Frances: The Art of Memory (London: Routledge & Kegan Paul, 1966). Desk Set, Dir. Walter Lang, 1957. Further reading/viewing: Manovich, Lev: The New Media Reader (Cambridge: MIT Press, 2003) Yates, Frances: Giordano Bruno and the Hermetic Tradition, London: Routledge and Kegan Paul, 1964). Yates, Frances: Architectural Themes, AA Files, 1, 1983

http://www.youtube.com/watch?v=c539cK58ees&feature=related http://www.archive.org/details/XD1941_95VannevarBushSymTape1_PaulKahn Session 2: Calculation: The Machine for Living Counting in While the previous session argued the computer is a building, this session argues the inverse: the building is a computer. The house Wittgenstein built for his sister is re-examined through his writings on the relations between calculation and its spatial counterpart, counting in Foundations of Mathematics. The analysis aims to reveal the spatialisation of (doubtful) calculation and (confirmatory) counting installed in the many doors, windows and white plastered volumes of the excessively measured house, concluding that this house is a machine not for living but for counting in. Required reading/viewing: Leitner, Bernhard: The Wittgenstein House (New York: Princeton Architectural Press, 2000). Leitner, Bernhard: The Architecture of Ludwig Wittgnestein (London: Academy Editions, 1995). Wittgenstein, Ludwig: Remarks on the Foundations of Mathematics, Trans. G. Anscombe (Oxford: Blackwell, 1964). Further Reading/Viewing: Loos, Adolf: My First Building!, Architecture On Architecture (Riverside CA: Ariadne Press, 2002). Session 3: Reasoning and Repetition: Perecs Algorithm In the C17th Liebniz devised a logical language to arbitrate all dispute by calculating truth: algorithmic procedure was born, supported by a binary system in which 1 was equated with God, zero with void. 200 years later, at the request of The Computing Service to the Humanities Research Centre in Paris, George Perec used the control flow of programming in a comic mock flow-chart to navigate moody secretaries, measles and the office canteen in order to calculate how to approach your head of department to submit a request for a raise. Via close analysis of the punctuation free novel generated in which mindless repetition is both subject and medium (The art and Craft of Approaching your Head of Department to Submit a Request for a Raise), this session examines the analogue spatial consequences of Liebnizs legacy as manifest in a written architecture of exhaustive iteration in extenso. Required reading: Liebniz, Gottfried: Selected excerpts to be specified. Perec, George: The art and Craft of Approaching your Head of Department to Submit a Request for a Raise, trans. David Bellos (London: Vintage Books, 2011). Perec, Georges: The Machine, trans. Ulrich Schnherr, The Review of Contemporary Fiction, Spring 2009 Vol. XXIX, No. 1. Six selections by the Oulipo, The New Media Reader, eds. Wardrip_Fruin and Montfort (Cambridge: MIT, 2003). Further Reading/Viewing: AA Files, George Perec, 45 & 46 winter 2001. Session 4: Threshold: Sutherlands Window and the 2 Mile Wide Piece of Paper When in the early 1960s Sutherland gave a demonstration of his pioneering software for drawing, Sketchpad, (now widely recognised as originator of CAD with a startling resemblance to contemporary parametric CAD programs like CATIA), he instructed the user to consider the screen a window, behind which we were to imagine a piece of paper 2 miles wide. In doing so Sutherland installed the computer screen into the same genealogy as Albertis window. This session sets out a cultural forensics of the screen that is a window, analysing Sutherlands seminal MIT demo film with reference to the windows and very big pieces of paper of Alberti and others that preceded it. Required reading/viewing: Alberti, Leon Battista: On Painting, ed. Martin Kemp, (London: Penguin Classics, 1991). Friedberg, Anne: From Alberti to Microsoft (Cambridge: MIT Press, 2009).

Sutherland, Ivan: Sketchapd: A Man- Machine Graphical Communication System, The New Media Reader, eds. Wardrip_Fruin and Montfort (Cambridge: MIT, 2003). http://www.youtube.com/watch?v=BKM3CmRqK2o&feature=related http://www.youtube.com/watch?v=USyoT_Ha_bA Further reading/viewing: Manovich, Lev: The Language of New Media, (Cambridge: MIT, 2002). Teyssot, Georges: Mapping the Threshold: A Theory of Design and Interface, AA Files, 57, 2008. Session 5: Circulation: Zoom The zoom function, seconded by rotation, is our main means of transport within computer space: zooming is how we get to and leave the digital object. With reference to the Eames Powers of 10 and Hitchcocks seminal use of the more spatially complex dolly zoom in Vertigo this session examines zooming as an extension to the tradition of magnification and crucially its ramifications for scale and precision in architectural production. Required reading/viewing: Hooke, Robert: Micrographia, (New York, reprint of Royal Society edition of 1665: Dover publications,1961). Powers of Ten, Dir. Charles and Ray Eames, 1968. Vertigo, Dir. Alfred Hitchcock, 1958. Further Reading/Viewing: Wise, M.Norton, ed: The Values of Precision, (Princeton: Princeton University Press, 1995). Session 6: Orientation: Space Walk or How to Navigate without Gravity When in 1965 Ed White conducted the first U.S. space walk, in the absence of gravity and horizon he described his movement in space in terms of pitch, yaw and roll as if he was reading his transformation matrix. Thus the astronaut mimicked the also gravity free newly digital objects in computers below. A few years later Stanley Kubrick dismantled gravity based orientation in film by vertically rotating the camera in 2001: A Sapce Odyssey. This session examines how the cultural construction of outer space and digital space influenced each other in their formative years via an analysis of Kubrick, NASA and Roscosmos footage and transcipts and with reference to key early software interface developments. Required reading/viewing: 2001: A Space Odyssey, Dir. Stanley Kubrick, 1968 Gagarin first orbit transcript: http://www.firstorbit.org/media/pdfs/Gagarin_Vostok-1-Transcript.pdf First Orbit video reenactment: http://www.youtube.com/watch?v=RKs6ikmrLgg&feature=player_profilepage Ed White Gemini 4 space walk transcript: http://www.jsc.nasa.gov/history/mission_trans/GT04_TEC.PDF Gemini 4 mission commentary transcript. space walk tape 11 http://ia600306.us.archive.org/0/items/Gemini4/GT04_PAO.PDF Original Nasa propaganda film, EVA starts around 9:00 with original video footage and radio communication: http://www.disclose.tv/action/viewvideo/65750/Gemini_4__The_Four_Days_Of_Gemini__Rare__19 65/ Further Reading/Viewing: Audio: http://www.archive.org/details/Gemini4 Video: http://www.youtube.com/watch?v=5KxYv6jeGuY Session 7: This final session will be in two parts: A general conclusive discussion on the course and a workshop on essay writing techniques in which students are expected to present a full synopsis of their proposed submission.

Francesca Hughes joined the AA in 2003 since when she has been unit master of dip 15 and intermittently taught HTS. She has lectured internationally and served as external examiner in numerous schools, both in the U.K. and abroad. Author/editor of The Architect: Reconstructing her Practice (MIT Press: 1996), she is currently completing a book entitled Error: The False Economy of Precision in Architecture. Hughes Meyer Studio is an art architecture practice whose work has been published by AR, ANY, Art Forum, Merrel, Routledge and Wiley and exhibited in the UK and abroad. Gergely Kovcs is an architect who graduated from the AA in 2009, having previously studied architecture and engineering at Budapest University of Technology. He is currently working for Heatherwick Studio in collaboration with Fosters and Partners.

POLITY AND SPACE JOHN PALMESINO

Cohabitation, with all its conveniences and accompanied by all its struggles, has for centuries been the main purpose of the construction of cities and of the infrastructures to protect and maintain them. The very act of construction yet implies separation, the set up of differences and demarcations, it implies making differences visible, not allowing others in. It implies generating a differentiated and striated society. Architecture is today undergoing a set of negotiations and re-alignments that wrought it towards a constantly changing position. The relation between the form of the inhabited territories and the institutional framework has never been a static one: the shifts, expansions and modifications in the forms of contemporary polities are reflected in the material configuration of their spaces of operation. The seminar analyses a series of architectures that have made the relation between polity and space a problematic one, where the challenges to preconceived and well-established forms of cohabitation has lead to the rethinking and reshaping of power. The material basis of contemporary transformations of the operations of states, multinationals, international organisations and sub-state polities show up to traditional forms of intervention, where differences and confrontations are modulated and outplayed. The grim doubts that these constructions have cast on the established notions of sovereignty will be the departing point for a detailed theoretical analysis that sets architecture as both the object and method of analysis of transformations of contemporary life. Course Outline: Session 1: Observing transformations: uncertainty in the inhabited landscapes (Session 1 will take place on Thursday 6th October at 5.00pm. Remaining sessions will take place on Fridays as timetabled) Session 2: Session 3: Session 4: Session 5: Session 6: Session 7: Bibliography: Giorgio Agamben , State of Exception, Chicago and London: University of Chicago Press 2005 Between space and society Self-organisation: multiple autonomous agents A Nature: contemporary sovereignties Territories, circulations, boundaries, horizons: knowledge production and architecture Inter Alia: architecture as a practice amongst other practices Agency

Arjun Appadurai, Modernity at Large: Cultural Dimensions of Globalization, University of Minnesota Press 1996 Hannah Arendt, The Human Condition, Chicago: University of Chicago Press Fernand Braudel, The Perspective of the World, Berkeley: University of California Press 1992 Gilles Deleuze, Bergsonism, New York: Zone Books 1991 Gilles Deleuze, Pure Immanence: Essays on A Life, New York: Zone Books 2001 Okwui Enwezor et al. (eds.) Democracy Unrealized. Documenta 11 Platform 1, Ostfildern: Hatje Cantz 2002 Michel Foucault, Security, Territory, Population, Lectures at the Collge de France 1977-1978, New York: Picador 2007 Achille Mbembe, On the Postcolony, Berkeley: University of California Press: 2001 Irit Rogoff, Terra Infirma: Geographys Visual Culture, London and New York: Routledge 2000 Aldo Rossi, The Architecture of the City, Cambridge, Massachusetts: MIT Press 1984 Saskia Sassen, Territory, Authority, Rights: From Medieval to Global Assemblages, Princeton: Princeton University Press 2008 Daniel Heller-Roazen, The Enemy of All. Piracy and the Law of Nations, New York: Zone Books 2009 Isabelle Stengers, Cosmopolitics I, Minneapolis: University of Minnesota Press 2010 Immanuel Wallerstein, World System Analysis, Durham: Duke University Press 2004 John Palmesino has established Territorial Agency, an independent organisation that combines contemporary architecture and urbanism, analysis, research and advocacy for integrated spatial transformations. He is Diploma Unit Master at the AA, where he also teaches at the HCT Master. He is Research Advisor at the Jan van Eyck Academie, Maastricht. He also teaches at the Research Architecture Centre, Goldsmiths in London where he is pursuing his Doctoral Research. Previously he has been Head of Research at ETH Studio Basel Contemporary City Institute. He is a founding member of multiplicity, the Milan-based international research network.

VICTORIA WALSH THE INDEPENDENT GROUP: TRACING THE PARALLELS IN VISUAL AND URBAN CULTURE
The Independent Group was a highly significant collection of writers, thinkers and creative practitioners which met at the Institute of Contemporary Arts in London from 1952-56. Leading artists such as Richard Hamilton, Eduardo Paolozzi, Nigel Henderson and William Turnbull; architects Alison and Peter Smithson, James Stirling and Colin St John Wilson and critics Lawrence Alloway and Reyner Banham all contributed to this group which embraced contemporary culture as found. Using a range of sources including the pages of science-fiction magazines, Jackson Pollocks paintings, Hollywood film, helicopter design, the bombed streets of Londons East End and modernist architecture, the Independent Group proposed radical new approaches to visual culture which continue to provoke artists, architects and academics. This course will consider the work and value of the Independent Group and its relation to contemporary cultural practice and thinking in todays increasingly post-disciplinary, digital age. Session 1: 11.30-1pm, Monday 3 October

The Artist as Anthropologist: Surrealism, Sociology and the Street From 1945-49, the artist Nigel Henderson found himself compulsively walking the streets around his East End home documenting the surreal and the banal of the everyday of this postwar London community. This session will look at Hendersons photographs and consider them in relation to his evolving friendship with Alison and Peter Smithson which subsequently informed the architects approach to urban planning and marked the beginning of a series of collaborative projects. Sessions 2 & 3: 11.30-2pm, Monday 17 October New forms for a new attitude: Parallel of Life and Art As technological developments in photography disclosed alternative visual worlds in the early 1950s and new photographic and reproduction processes opened up beyond scientific laboratories and specialist publications, the opportunity to consider new forms and structures was taken up by artists and architects in radical moves to overhaul the orthodoxy of classical aesthetics. This double session considers two of the seminal exhibitions that proposed a reordering of the visual: Growth and Form organised by the artist Richard Hamilton (ICA, 1951) and Parallel of Life and Art (ICA, 1953; Smithsons, Henderson, Paolozzi) which Reyner Banham subsequently identified as the first moment of New Brutalism. Session 4: 11.30 1pm, Monday 24 October Playtime: This is Tomorrow (Whitechapel Art Gallery, 1956) The exhibition This is Tomorrow has acquired mythical status in the history of the Independent Group, while also seen as a first moment in the history of British Pop Art. This session looks at how the Smithsons ideas of ordinariness and As Found connected with the collage and communication theories of other IG members exhibiting in the Whitechapel show, leading to visions of the future which were understood by audiences to be as equally futuristic and utopian as prehistoric and apocalyptic. Session 5: 11.30-1pm, Monday 7 November The Lure of Technology: Man, Machine and Motion 1n 1955 Richard Hamilton organised the display, Man, Machine and Motion which as The Architects Journal noted contains enough aircraft of the strut and string variety and motor cars of the milk-float epoch to have all the architecture teddy-boys in there in force, and enough space-fiction and aqua-lung pictures to have Astragal muttering: Technology, you gorgeous beast. This session looks at how members of the IG engaged with technology at the level of image and idea, and began to foster ideas of an embodied audience for culture.

Session 6:

11.30-1pm, Monday 14 November

Reassembling Visual Culture: Lawrence Alloways Fine Art/Popular Art Continuum In 1955 as an emerging art critic Lawrence Alloway led the closing series of Independent Group meetings at the ICA in which he began to dismantle the established histories of art and design and propose more pluralist accounts of the relationship between art and culture derived from urban experience, the rise of mass media, and Information Theory. This session considers Alloways key ideas and texts, many of which anticipated the arguments for and against the dissolution of disciplinary knowledge and hierarchies of cultural value brought about by digital culture today. Session 7: 11.30-1pm, Monday 21 November The Independent Group Today Just what is it thats so appealing about the Independent Group today that artists, architects, designers and academics keep returning to the work of this loosely defined set of individuals from the 1950s? This session will look at the proliferation of contemporary interest in the IG from reconstructions of installations and total exhibitions, textile reproductions, websites and conference events, to consider why the IG continues to invigorate discussions around models of interdisciplinary practice, creative conflict, cults of ugliness and narratives of postmodernism. (Dr) Victoria Walsh is a curator, project manager and research consultant in the fields of visual arts, architecture, arts education and post-critical museology, and has worked for the Tate, London Mayors Cultural Office, LSE Cities, Architecture Foundation, Foster & Partners, and the Royal College of Art amongst others. She has published on post-war British artists Nigel Henderson, Francis Bacon and Gilbert & George and architects Alison and Peter Smithson. During her academic career she has studied art history (PhD) at Oxford Brookes University, The Courtauld Institute of Art (MA History of Art) and the Royal College of Art (MA Curating). Reading List: The Independent Group: Postwar Britain and the Aesthetics of Plenty, Ed. David Robbins, MIT, 1990 Anne Massey, The Independent Group, Modernism and Mass Culture, 1945-59, Manchester University Press, 1995 Victoria Walsh, Parallel of Life and Art: Nigel Henderson, Thames and Hudson, 2001 Claude Lichtenstein, As Found: The Discovery of the Ordinary: British Architecture and Art of the 1950s, New Brutalism, Independent Group, Free Cinema, Angry Young Men, Springer, Zurich, 2002 Ben Highmore, Everyday Life and Cultural Theory, Routledge, 2002 Nigel Whiteley, Reyner Banham: Historian of the Immediate Future, MIT, 2002 CIAM Team Ten The English Context, Faculty of Architecture TU Delft, 2006. PDFs of conference papers can be accessed at www.team10online.org/research/studies_and_papers.html CIAM Team Ten Between Modernity and the Everyday, Faculty of Architecture TU Delft, 2006 pdfs of conference papers can be accessed at www.team10online.org/research/studies_and_papers.html The Independent Group, October, vol. 94, 2000 & The Brutalism of Life and Art, October, vol. 136, Spring 2011, MIT Press Journals. Pdfs can be accessed at www.mitpressjournals.org/loi/octo Mark Crinson / Claire Zimmerman. Neo-avant-garde and Postmodern: Postwar Architecture in Britain and Beyond , Yale, 2010 Sylvia Harrison, Pop Art and the Origins of Post-Modernism, Cambridge University Press, 2001

INES WEIZMAN ARCHITECTURAL DOPPELGANGERS, FAKES AND DJ VUE(S)

This course deals with questions of authenticity, originality, fake, law and architecture. In the contemporary intensity of our media, culture flows, and the dematerialisation of the architectural process and product, issues of intellectual property, copyright or by extension patent are at the centre of a new vortex of creativity. Looking at examples in the history of art, architecture and photography, the course will couple more theoretical, or conceptual discussions of notions such as forgery, copy and original in relation to history with numerous bizarre and fascinating case studies in which architectural characters employing fakes, doppelgngers, replicas and re-enactments have in fact become heroes. In a sequence of seminars that go through a variety of intellectual products and properties, the course seeks to show how spiritual property works in respect to architecture. It will tackle the constant paradox of architecture: both conservative notions of tradition and contemporary notions of multiplication entail a degree of repetition (almost every gesture in the construction of space would have to be protected). On the other hand, architectures claim for innovation, expression and aesthetic value. As such, copyright in architecture seems to protect two completely incompatible sources Session 1 In Praise of Copying. Theories of the Fake. Reading: Ackbar Abbas (2005) Theory of the Fake, pp.312-320 in Laurent Gutierrez, Valrie Portefaix, and Laura Ruggeri (eds.) HK Lab II: An Experience of Hong Kong's Interior Spaces, Hong Kong: Map Book Publishers, 2005 Marcus Boon (2010), What is a copy?, Chapter 1, pp.12-40 in Marcus Boon In Praise of Copying, Harvard University Press, 2010 Diller + Scofidio, Back to the Front: Tourisms of War/ Visite aux Armees: Tourismes de Guerre, FRAC, Princeton Architectural Press, 1994 Origins, Imitations and Conventions in the history of Architecture Reading: James S. Ackermann (2002), Imitation, Chapter 5, pp.126-141 in James S. Ackermann, Imitation Origins, imitations and conventions. Representation in the Visual Arts, Cambrige, Massachusetts and London, England: The MIT Press, 2002 Alexander Nagel and Christopher S. Wood (2010), Movable Buildings, Chapter 11, pp.195- 217 in Alexander Nagel and Christopher S. Wood, Anachronic Renaissance., New York: Zone Books, 2010 Copies Creating Originals, or Preservation and the Problem of Authenticity Reading: George Dodds, Mies as Media, Chapter 1, pp. 1-66 in George Dodds, Building Desire. On the Barcelona Pavilion., Routledge, 2005 Bruno Latour and Adam Lowe, The Migration of the Aura, or How to Explore the Original through its Facsimiles, pp.275-298 in Thomas Bartscherer and Roderick Coover (eds), Switching Codes. Thinking through Digital Technology in the Humanities and the Arts., Chicago and London: The University of Chicago Press, 2011 Neil Levine, Building the Unbuilt: Authenticity and the Archive, Journal of the Society of Architectural Historians, 67:1, March 2008

Session 2

Session 3

Session 4

Ownership of the image, or the law of photography Reading: Charles Baudelaire, On Photography (The Salon of 1859) in Jonathan Mayne (ed), Charles Baudelaire. The Mirror of Art., London: Phaidon Press Limited, 1955. Bernard Edelman, The commodity form of creation, Chapter 3, pp. 37-53 In Bernard Edelman, The Ownership of the Image. Elements for a Marxist Theory of Law, London, Boston and Henley, Routledge, 1979 Daniel McClean, The Trials of Art, London: Ridinghouse, 2007 The Biography of the Thing, or The work of architecture in the age of digital reproduction Reading: Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction, pp.217251 In Walter Benjamin, Illuminations. Essays and Reflections, New York: Schocken Books, 1968 Sergei Tretiakov, The Biography of the Object., pp. 57-62 in October 118, Fall 2006, October Magazine, MIT Jan Turnovsky, The Poetry of a Wall Projection, London: Architectural Association Publications, 2009 Albena Yaneva, A Buildings Trajectory, pp.17-45 In Pasquale Gagliardi, Bruno Latour, Pedro Memelsdorff (eds.), Coping with the Past. Creative perspectives on conservation and restoration., Published by Leo S. Olschki, Civilta Veneziana Studi 52, 2010 Architectural Doppelgangers in Court. Preparations Reading: Jeffrey Kipnis and Thomas Leeser (eds), Chora L Works. Jacques Derrida and Peter Eisenman., The Monacelli Press, 1997 Judy Radul (2007) What was behind me now faces me. Performance, staging, and technology in the court of law, in Eurozine, www.eurozine.com/articles/2007-05-02radul-en.html Cornelia Vismann, Tele-Tribunals: Anatomy of a Medium, Grey Room 10, Winter 2003, pp.5-21 Architecture & Intellectual Property. Whats at stake for the public domain? Reading: Karsten Schubert and Daniel McClean, Dear Images: Art, Copyright and Culture, London: Ridinghouse, 2002 Jaime Stapleton, Support for Culture, pp.132-145 In Celine Condorelli (ed), Support Structures, Sternberg Press, 2009

Session 5

Session 6

Session 7

Bibliography Tim Anstey, Katja Grillner, Rolf Hughes (eds.), Architecture and Authorship, London: Black Dog Publishing, 2007 James S. Ackermann, Imitation Origins, imitations and conventions. Representation in the Visual Arts, Cambrige, Massachusetts and London, England: The MIT Press, 2002 Thomas Bartscherer and Roderick Coover (eds), Switching Codes. Thinking through Digital Technology in the Humanities and the Arts., Chicago and London: The University of Chicago Press, 2011

Walter Benjamin, Illuminations. Essays and Reflections, New York: Schocken Books, 1968 Jane Bennett, Vibrant Matter. A political ecology of things. Durham and London: Duke University Press, 2010 Marcus Boon, In Praise of Copying, Harvard University Press, 2010 Celine Condorelli (ed), Support Structures, Sternberg Press, 2009 Lorraine Daston and Peter Galison, Objectivity, New York: ZONE Books, 2007. Lorraine Daston (ed.),Things That Talk. Object Lessons from Art and Science, New York: ZONE Books, 2004 Diller + Scofidio, Back to the Front: Tourisms of War/ Visite aux Armees: Tourismes de Guerre, FRAC, Princeton Architectural Press, 1994 George Dodds, Building Desire. On the Barcelona Pavilion., Routledge, 2005 Bernard Edelmann, The Ownership of the Image. Elements for a Marxist Theory of Law, London, Boston and Henley, Routledge, 1979 David Evans (ed), Appropriation, Documents of Contemporary Art, Whitechapel Gallery and The MIT Press, 2009 Pasquale Gagliardi, Bruno Latour, Pedro Memelsdorff (eds.), Coping with the Past. Creative perspectives on conservation and restoration., Published by Leo S. Olschki, Civilta Veneziana Studi 52, 2010 Joseph C. Farber and Henry Hope Reed, Palladios Architecture and its Influence: A Photographic Guide, Dover Publications, 1981 Laurent Gutierrez, Valrie Portefaix, and Laura Ruggeri (eds.) HK Lab II: An Experience of Hong Kong's Interior Spaces, Hong Kong: Map Book Publishers, 2005 John Harris, The Palladians, New York, 1982 Andreas Huyssen (ed.), Other Cities, Other Worlds: Urban Imaginaries in a Globalizing Age, Duke University Press, 2009, (see Ackbar Abbas, Faking Globalization, in pp. 243-264) Mark Jones, Fake? The Art of Deception, British Museum Press, 1990 Jeffrey Kipnis and Thomas Leeser (eds), Chora L Works. Jacques Derrida and Peter Eisenman., The Monacelli Press, 1997 Neil Levine, Architecture of Frank Lloyd Wright, Princeton University Press, 1996 Neil Levine, Modern Architecture: representation and reality, Yale University Press, 2009 Bill Maurer and Gabriele Schwab (eds.), Accelerating Possession: Global Futures of Property and Personhood, Columbia University Press, 2006 Daniel McClean, The Trials of Art, London: Ridinghouse, 2007 Alexander Nagel and Christopher S. Wood, Anachronic Renaissance., New York: Zone Books, 2010 Judy Radul (2007) What was behind me now faces me. Performance, staging, and technology in the court of law, in Eurozine, www.eurozine.com/articles/2007-05-02radul-en.html Judith Ryan and Alfred Thomas (eds.), Cultures of Forgery. Making Nations, Making Selves, New York and London: Routledge, 2003 Hillel Schwartz, The Culture of the Copy. Striking Likeness, Unreasonable Facsimiles., New York: Zone Books, 1996 Karsten Schubert and Daniel McClean, Dear Images: Art, Copyright and Culture, London: Ridinghouse, 2002 Jan Turnovsky, The Poetry of a Wall Projection, London: Architectural Association Publications, 2009 Cornelia Vismann, Tele-Tribunals: Anatomy of a Medium, Grey Room 10, Winter 2003, pp.5-21 Lebbeus Woods, The New City, Simon and Schuster,1992 Albena Yaneva, The Making of a Building: A Pragmatist Approach to Architecture, Peter Lang, 2009

Novels Jorge Luis Borges, The Book of Sand and Shakespeares Memory, Penguin Modern Classic, 2001 (read The Other and August 25, 1983) Honore de Balzac, The Unknown Masterpiece, New York: New York Review of Books, 2001 (1832) Fyodor Dostoyevsky, The Double: A Petersburg Poem, Cathedral Classics, 2010 (1846) Gustave Flaubert, Bouvard and Pecuchet, Harmondsworth: Penguin, 1976 (read: The Dictionary of Received Ideas) Tom McCarthy, Remainder, New York: Vintage Books, 2005 Alain Robbe-Grillet, Jealousy, London, Paris and New York: John Calder Publisher, 1997 (1957) August Strindberg, By the Open Sea, Penguin Books, 1987 (1890) Films Certified Copy, Abbas Kiarostami (2010) Double take, Johan Grimonprez (2009) F for Fake, Orson Welles (1974) Shadow Of A Doubt, Alfred Hitchcock (1943) The Society of the Spectacle, Guy Debord (1967) Vertigo, Alfred Hitchcock (1958) Ines Weizman is an architect and theorist. She was trained as an architect at the Bauhaus University Weimar and the Ecole dArchitecture de Belleville in Paris. She did graduate work at Cambridge University and completed her PhD in History and Theory at the Architectural Association in 2004. She taught design and history and theory at the Architectural Association, Goldsmiths College London, the Berlage Institute and London Metropolitan University. In recent years, following the subject of her PhD thesis she researched and published on the political and ideological spectacles enacted by Soviet-era architecture, particularly on the urban historiography of what was East Germany. Research and exhibition projects include Celltexts. Books and other works produced in prison (together with Eyal Weizman) first exhibited in Fondazione Sandretto Re Rebaudengo, Turino (2008) http://celltexts.org/. In 2008, in the context of the Ordos 100 project in Inner Mongolia, China she proposal an architectural re-enactment of Adolf Loos 1927 project, a House for Josephine Baker in Paris. It is an architectural and political critique in the form of an excise in critical appropriation, and radical copying.