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PRECEDENTS IN CRITICAL PRACTICE 4.210 Fall 2019 SA+P MIT Instructor: Ana Miljacki [email protected] TA: Eli Keller [email protected] TA: Jeffrey Landman [email protected] Wednesday 2-5pm, Room: Long Lounge or Studio

COURSE DESCRIPTION

Cedric Price once said that “architecture is everything architects make.” Sure, we could dismiss this as an unhelpful, overly empirical and even tautological statement. But instead, we will take it as a form of reinforcement for this class’s aim, we will take it to mean that architecture manifests itself in buildings, certainly, but also in drawings, in writing, in broadcasts, postures, experiments, social and professional organizations and modes of practice. In fact, it is the discursive, cultural, personal, historical, technological circumstances that give architecture its value, not by following some simple—one, two, base, superstructure—principle of causality, but often far more entangled routes of relation. It is far easier, of course, for an established and wise (and humorous) architect, to look back and say “architecture is everything architects make,” than it is for someone beginning in the field of architecture to feel reassured by that same statement. In Critical Precedents, we will be open to various definitions of architecture and of criticality so as to light up possible paths through the discipline and the profession, both taken and previously unthinkable. To that end in this class we will acquaint ourselves with the characters, language and concerns that greet us upon entering the field.

The key objective of this seminar then is to produce a map of contemporary architectural practice and to develop tools for scrutinizing that map, through formal reading, understanding of popular culture and politics, and by using our general grasp of the recent history of architectural thinking.

The seminar will open by examining several collective attempts at theorizing the current situation in architectural discourse, published in Hunch, Log, the last issue of Assemblage, Harvard Design Magazine, and more recently in The Avery Review and elsewhere. Drawing out the most salient themes from these, the course is structured in terms of 6 coupled themes: City –> Global Economy, Urban Plan –> Map of Operations, Program –> Performance (Relations, Effects, Atmospheres), Drawing –> Scripting, Image –> Surface, Utopia –> Projection. These are examined in terms of the recent history of the coupled subjects – as topics that are in the process of definition, rather than as strictly demarcated themes. Although the course proposes that these paired topics are in a historical relationship of sorts, they are not seen here as opposed to each other. Although the partially genealogical relationship between the two topics would suggest that the second theme in each heading has more contemporary currency than its predecessor, it would be wrong to think that we will be discussing examples of absolute evolution, where one theme is also more advanced as a result of its novelty, or for that matter that it has completely replaced the theme that in some way anticipated and prefigured it.

In order to set up each topic we consider a combination of texts and recent architectural work. A map of contemporary practice and discourse emerges as the course unfolds and as our terms/themes accumulate, allowing us to consider certain works through a variety of lenses and forcing us to invent lenses to accommodate new relationships that inevitably emerge from our discussion. We dedicate a large portion of our time to situating projects within a disciplinary and cultural context,

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which involves formal reading of buildings in conjunction with the reading of relevant texts.

STRUCTURE:

Each of the six themes for the course are ideally developed over a period of two weeks. Each class begins with a lecture/presentation by the instructor of the contemporary writings outlining the topic of the debate (and some of its earlier variations) and a presentation of architectural work. The second portion of the class is devoted to student presentations assigned for that meeting, followed by an open discussion intended to question the issues and topics introduced in the session.

REQUIREMENTS:

- attending the weekly seminar session, - completing all readings in time for respective class discussions, - posting one question/comment weekly on Stellar (by midnight before class) - delivering two 20 min. presentations over the course of the term (each presentation will deal with a specific theme, or body of work chosen in a short discussion with the instructor), - producing a visual dossier on a theme, or body of work, that is of a particular interest to the student, which has to include a critical analysis/text of 1000-2000 words. The final form of this “deliverable” will be determined in conversation with the instructor.

BASIS FOR THE GRADE:

- class presentations (and handouts) in groups of 3 (25%) - quality of your posting in the Class Forum on Stellar (20%) - contribution to class discussions (25%) - the visual dossier (30%)

WEEKLY READINGS:

All the required readings will be available on the Stellar course site as pdf files. Also, all the books I am recommending you peruse will be available on reserve at the library.

WRITING:

You will be writing every week on forum, and we will discuss some of the writing live, but you will also have to produce at least a 1000-word framing essay for your dossiers. If you need help with grammar, exposition, style, and tone, please consult the writing center at MIT:

“Go to http://writing.mit.edu/wcc and click on “Appointment.” If you cannot find an open appointment slot, click on the clock in the upper left-hand corner of each day’s block. When a cancellation occurs that day, you will be automatically notified by email. Because several people might receive that same message, go online ASAP to schedule that open spot; 96% of clients who want an appointment end up with one if they use the Wait List. The best way to guarantee yourself an appointment is to schedule early!”

OTHER RESOURCES:

MIT Rotch Architectural Design Resources (Architecture and Art Librarian: Kai Alexis Smith, [email protected])

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MIT Thesis Database: DSpace (https://dspace.mit.edu/) Geographic Information Systems (GIS) Lab on the third floor of the Rotch Library Geocoding tutorials, census data, map projections, citation guidelines also part of the GIS lab (http://libguides.mit.edu/c.php?g=176295&p=1161396) MIT Architecture Lectures and other online lecture videos (AA, GSD, Rice, GSAPP, etc.)

ACADEMIC INTEGRITY:

MIT's expectations and policies regarding academic integrity should be read carefully and adhered to diligently: http://integrity.mit.edu

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COURSE SCHEDULE + THEMES AND MATERIAL

Introduction: Stories and Maps

1. September 4

Read: Mark Wigley, “Storytime,” Assemblage 27 (August 1995), pp. 81-94. Mark Jarzombek, “Un-messy Realism and the Decline of the Architectural Mind," Perspecta 40, Monster, pp. 82-84. Michael Meredith, “Notes for those beginning the discipline of Architecture,” (YouWorkForThem, 2006). Ananya Roy, “The Infrastructure of Assent: Professions in the Age of Trump,” The Avery Review, 2017 [~40]

Recommended: K. Michael Hays, “Critical Architecture Between Culture and Form,” Perspecta 21, 1984, pp, 14-29. K. Michael Hays, “Theory Constitutive Conventions and Theory Change” Assemblage 1, October 1986, 116- 128. Sylvia Lavin, “The Temporary Contemporary,” Perspecta 34, 2003, p.128. Roland Barthes, “What is Criticism?” Critical Essays (Evanston: Northwestern University Press, 1972). Michel Foucault, “What is Enlightenment?” The Politics of Truth (Semiotext(e), 2007). Bruno Latour, “Why has Critique Run out of Steam, From Matters of Fact to Matters of Concern,” Critical Inquiry 30 (Winter 2004), pp. 225-248. Vittoria di Palma, “Radical Thought,” History/Theory e-flux and ETH collaboration, December 5, 2017, https://www.e-flux.com/architecture/history-theory/159243/radical-thought/.

+ think about the projects you might want to present in class

2. September 11

Read: Alejandro Zaera Polo, “A Scientific Autobiography,” Harvard Design Magazine 21, pp. 5-15. Sarah Whiting, “Critical Reflections” Assemblage 41, Cambridge: MIT Press 2000, pp. 88-89. , “Autonomy and the Will to the Critical” Assemblage 41, Cambridge: MIT Press, 2000, pp. 91-92. R. E. Somol “In the Wake of Assemblage” Assemblage 41, Cambridge: MIT Press, 2000, pp. 92-93. Reinhold Martin, “Double Agency,” Assemblage 41, p. 49. Roemer Van Toorn, “Beyond Wonderland,” Hunch, 6/7, summer 2003, p. 10. , “Different Strategies,” Hunch 6/7, p. 67 –71. Michael Speaks, “Design Intelligence,” Hunch 6/7, pp. 416–421. Pier Vittorio Aureli, “A project is a lifelong thing; if you see it, you will only see it at the end,” LOG 28: Stocktaking, Summer 2013. , “Architecture is a technology that has not yet discovered its agency,” LOG 28: Stocktaking, Summer 2013. Bryoni Roberts and Dora Epstein-Jones, “The New Ancients” editorial, LOG 31: New Ancients, Spring/Summer 2014. Mabel Wilson with Julian Rose, “Changing the Subject: Race and Public Space,” Artforum, Summer 2017. Ana María León, “Spaces of Co-liberation,” Dimensions of Citizenship, e-flux, Summer 2018. [~58]

Recommended: Stan Allen, “Revising Our Expertise,” Hunch 6/ 7, pp. 64-66 , “Architecture is a Device,” Hunch 6/7, pp. 321-324 Michael Sorkin, “The Avant-Garde in Time of War,” The State of Architecture at the Beginning of the 21st Century (New York: The Monacelli Press, 2003), pp. 22-23 Laura Kurgan, “Trying not to avoid propositions altogether,” Assemblage 41. p. 37

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Peruse: Hunch, The report, no. 6/7, Summer 2003 Assemblage 41, April 2000 Log 5, guest editors R.E. Somol and Sarah Whiting, Spring 2005 Harvard Design Magazine 20, Spring/Summer 2004: Stocktaking The Avery Review, http://averyreview.com/ e-flux, Positions series (for example), https://www.e-flux.com/architecture/positions/

City –> Global Economy

3. September 18

Read: Robert Venturi, Denise Scott Brown and Steven Izenour, Learning from Las Vegas (Cambridge MA: MIT Press, 1972), pp. 3–9, 18–20, 34–35, 49–53, 72. * Fredric Jameson, “Postmodernism and Consumer Society,” The Cultural Turn, Selected Writings on the Postmodern (1983-1998), (Verso 1998), pp. 1–20. Sam Jacob, “Postmodernism’s real qualities are mean and difficult, yet also psychedelically positive,” Dezeen, August 2015, http://www.dezeen.com/2015/08/13/sam-jacob-opinion-postmodernism-revival- we-are-all-postmodern-now/ [~40]

Projects presented: Corbs’s Paris Plans and Chandighar, the early work of Venturi and Scott Brown Students present: Learning from Las Vegas – the books Peter Eisenman – the Cannaregio Project (and House 11a)

Recommended: Denise Scott-Brown, “There is a lot to be learned from Postmodernism,” Dezeen, August 2015, http://www.dezeen.com/2015/08/18/denise-scott-brown-interview-still-a-lot-to-be-learned-from- postmodernism-pomo-robert-venturi/ Rafael Moneo, Chapter on Robert Venturi and Denise Scott Brown, Theoretical Anxiety and Design Strategy in the Work of Eight Contemporary Architects (Barcelona: Actar, 2004), pp. 51–100. Andreas Huyssen, After The Great Divide: Modernism, Mass Culture, Postmodernism (Basingstoke: Macmillan, 1988). Denise Scott Brown, “Learning from Pop,” K. Michael Hays (ed.), Architecture Theory Since 1968 (Cambridge: MIT Press, 1998), pp. 60–66. Reinhold Martin, “Architecture’s image Problem: Have we Ever Been Postmodern?” Grey Room 22 (Winter 2006), pp. 6–29. Pier Vittorio Aureli, ed., The City as a Project, Ruby Press 2013. Larry McCaffery, “An interview with David Foster Wallace,” in Review of Contemporary Fiction, 1993 (concentrate on pp. 14–18 for a generational response to postmodernism). Reinhold Martin, The Urban Apparatus: Media Politics And The City (Minneapolis: University of Minnesota Press, 2017).

Peruse: Robert Venturi, Denise Scott Brown and Steven Izenour, Learning from Las Vegas (Cambridge MA: MIT Press, 1972). Colin Rowe and Fred Koetter, Collage City (Cambridge, MA: The MIT Press, 1978). , : A Retroactive Manifesto (London: Thames and Hudson, 1978).

4. September 25

Read: * Rem Koolhaas, “Globalization,” S,M,L,XL (New York: The Monacelli Press, 1995), pp. 363–369.

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* Rem Koolhaas, "What Ever Happened to Urbanism," S,M,L,XL, pp. 960–971. Rem Koolhaas, “The Generic City,” S,M,L,XL, pp. 1238–1264. [image heavy] Rem Koolhaas, “Junkspace,” Content (Koln, London, L.A., Madrid, Paris, : Taschen, 2004), pp. 162– 171. Hashim Sarkis, “The World According to Architecture,” New Geographies: Scales of the Earth, 2011, pp. 104–108. James Graham et al, “Climactic Imaginaries,” Introduction to Climates: Architecture and the Planetary Imaginary, Lars Muller 2016, pp. 9–14. [~56]

Projects presented: The early work of Rem Koolhaas and OMA (+ 2 recent super xl works) Students present: FOA the Yokohama Terminal SHoP, SOM, OfficeUS Dogma - Stop City

Recommended: Rafael Moneo, Chapter on Rem Koolhaas, Theoretical Anxiety and Design Strategy in the Work of Eight Contemporary Architects, (Barcelona: Actar, 2004), pp. 307–359. Rem Koolhaas, “White Briefs Against Filth; The waning power of New York,” Content (Koln, LondonL L.A. Madrid, Paris, Tokyo: Taschen, 2004), pp. 236–239. Sanford Kwinter, “Flying the Bullet, or when did the future begin?” Sanford Kwinter (ed.) Rem Koolhaas: Conversations with Students, (New York: Princeton Architectural Press, 1996), pp. 68–91. Sanford Kwinter, “New Babylons: Urbanism at the End of the Millennium,” Assemblage 25, 1995, pp.80–81 “Re-learning from Las Vegas,” Interview with Robert Venturi and Denise Scott Brown by Rem Koolhass and Hans Ulrich Obrist, Content (Koln, London, L.A., Madrid, Paris, Tokyo: Taschen, 2004), pp. 150–157. Felicity Scott, “On Architecture Under Capitalism,” Grey Room 6 (Winter 2002), pp. 44–65. Rem Koolhaas, “The Ultimate Atlas for the 21st Century,” WIRED (June 2003), pp. 132–69. Arindam Dutta, Marginality and Metaengineering: Keynes and Arup,” Governing by Design (Pittsburg: University of Pittsburg Press, 2012). Reinhold Martin, “Financial Imaginaries: Toward a Philosophy of the City,” Grey Room 42, 2011, pp. 60–79.

Peruse: Rem Koolhaas, S,M,L,XL (New York: The Monacelli Press, 1995). Rem Koolhaas, Stefano Boeri, Sanford Kwinter, Nadia Tazi, Daniela Fabricius, Mutations (Barcelona: Actar, 2001). Praxis 5: After Capitalism, 2003 Eva Franch, Michael Kubo, Ana Miljacki and Ashley Schaffer (eds.) OfficeUS Atlas (Lars Muller Publishers, 2015). Eva Franch, Ana Miljacki, Carlos Minguez Carrasco, Jacob Reidel and Ashley Schaffer (eds.) OfficeUS Manual (Lars Muller Publishers, 2017).

Urban Plan –> Map of operations

5. October 2

Due: One possible idea for your Dossier projects

Read: Michel Foucault, "Space, Knowledge and Power," Paul Rabinow (ed.), The Foucault Reader (New York: Pantheon Books), pp. 239–56. * Michel De Certeau, “Spatial Practices: Walking in the City,” The Practice of Everyday Life (Los Angeles: The University of California Press, 1984), pp. xi-xix, and 91–110. * , “Spaces and Events,” Architecture and Disjunction (Cambridge: MIT Press, 1994), pp. 139–149.

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Kian Goh, “Architecture and Global Ethnographies—Dimensions of Citizenship,” Dimensions of Citizenship, e-flux, Summer 2018. [~65] Projects presented: La Villette competition entries Students present: Manhattan Transcripts (+ one building by Tschumi) Atelier Bow Wow: Found in Tokyo (+ one building by Bow Wow) Keith Krumwiede: Freedomland (book)

Recommended: Rem Koolhaas, “Urbanism after Innocence: Four Projects: The Reinvention of Geometry,” Assemblage 18. Bernard Tschumi, The Manhattan Transcripts: Theoretical Projects (St. Martin’s Press, expanded edition 1995). Peter Eisenman, “Folding In Time: The Singularity of Rebstock,” D: Columbia Documents of Architecture and Theory, vol. 2, 1993, pp. 99–112. Colin Rowe and Fred Koetter, Collage City (Cambridge, MA: The MIT Press, 1978). Rem Koolhaas, Delirious New York: A Retroactive Manifesto (London: Thames and Hudson, 1978).

Peruse: Bernard Tschumi, The Manhattan Transcripts: Theoretical Projects (St. Martin’s Press, expanded edition 1995).

6. October 9

Read: Stan Allen, “Field Conditions,” Points + Lines: Diagrams and Projects for the City (New York: Princeton Architectural Press, 1999), pp. 92–103. * James Corner, "Eidetic Operations and New Landscapes,” James Corner (ed.), Recovering Landscape (New York, NY: Princeton Architectural Press, 1999), pp. 153–168. Gilles Deleuze and Felix Guattari. “Introduction: Rhizome,” A Thousand Plateaus: Capitalism and Schizophrenia, (Minneapolis: University of Minnesota Press, 1987), pp. 3–13. Bruno Latour and Albena Yaneva, “Give me a gun and I will Make All Buildings Move – An ANT’s View of Architecture,” in Reto Geiser (ed.) Explorations in Architecture (Birkhauser, 2008), pp. 80–89. Rania Ghosn and El Hadi Jazairy, excerpt from “Another Architecture for the Environment” Geostories (Actar, 2018) Godofredo Pereira, “Towards an Environmental Architecture,” Positions, e-flux, https://www.e- flux.com/architecture/positions/205375/towards-an-environmental-architecture/ [~53]

Projects presented: James Corner’s maps, Stan Allen’s Barcelona Manual, UN Studio maps Students present: Downsview Park Competition Andres Jaque – Office of Political Innovation – Ikea Disobedients + 12 Actions Kate Orff – Scape

Recommended: Stan Allen, “From Object to Field,” Architectural Design: After Geometry, Vol.67, 5/6, London, 1995, pp. 24– 31. Sanford Kwinter, “The Complex and the Singular,” Architectures of Time (Cambridge, MA 2001), pp. 2–31. Mark Wigley, “Network Fever,” Grey Room 4, pp. 82–122. Jeremy Till, “Architecture and Contingency,” Field Vol. 1, n. 1, pp.120–135.

Peruse: Stan Allen, Points + Lines: Diagrams and Projects for the City (New York: Princeton Architectural Press, 1999).

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Program –> Performance (Relations, Effects, Atmospheres)

7. October 16

Read: Peter Eisenman, “Post-Functionalism,” Oppositions 6, K Michael Hays (ed.) Architecture Theory Since 1968 (Cambridge: MIT Press, 1998), pp. 234–239. * Colin Rowe, “Program versus Paradigm: Otherwise Casual Notes on the Pragmatic, the Typical and the Possible,” As I Was Saying: Recollections and Miscellaneous Essays: Texas, Pre-Texas, Cambridge (Cambridge: The MIT Press, 1995), pp. 5–42. Praxis editors with Rem Koolhaas and Bernard Tschumi, “2 Architects, 10 Questions on Program,” Praxis 8 Re:Program, 2007, pp. 6–15. [~46]

Projects presented: An example of early modern functionalist thinking, Eisenman, Colin Rowe’s diagrams, Alison and Peter Smithson Drawings, Archigram drawings, Philip Rahm Students present: OMA: Seattle Public Library + Tres Grande Bibliotheque MVRDV or BIG or WORK AC or REX SANAA

Recommended: Manuel Delanda, “Deleuze, Diagrams and the Genesis of Form” ANY 23, 1998, No. 23, p. 30–34. John McMorrough, “Notes on the Adaptive Re-Use of Program,” Praxis 8 (2006). John Summerson, “The Case for a Theory of Modern Architecture,” RIBA Journal, June 1957, pp. 307–10. Reyner Banham, “Architecture After 1960,” Architectural Review 127, no. 755 (January 1960). Jeffrey Kipnis, “The Cunning of Cosmetics,” in El Croquis, no. 84, 1997, pp. 22–28. Dawn Finley and Mark Wamble, “The Rest of the World Exists,” Perspecta 34, 2003. Arch +, Isue 188: Form Follows Performance, July 2008. Philip Rahm, “Meteorological Architecture,” AD: Energies (April 2009). Anthony Vidler, “Toward a Theory of Architectural Program,” October 106 (Fall 2003), pp. 59-74.

8. October 23

Jorge Silvetti, The Muses are not Amused, Pandemonium in the House of Architecture,” Harvard Design Magazine 19, Fall 2003-Winter 2004, pp. 22–33. * Sanford Kwinter, “Concepts: The Architecture of Hope,” Harvard Design Magazine 19. John May, “Under Present Conditions our Dullness Will Intensify,” Project #3, pp. 18–21. Anna Tsing and Rosetta Elkin interview “The Politics of the Rhizosphere,” Harvard Design Magazine 45: Into the Woods, SS 2018. [~45]

Projects presented: Ito’s Mediatheque, WW, Interloop, Howeller+Yoon Students present: PS 1 finalists R&Sie Architects Philip Rahm Projects Forensic Architecture

Recommended: Jeffrey Kipnis, “The Cunning of Cosmetics,” in El Croquis, no. 84, 1997, pp. 22–28. Dawn Finley and Mark Wamble, “The Rest of the World Exists,” Perspecta 34, 2003. Arch +, Isue 188: Form Follows Performance, July 2008 Mark Wigley, "The Architecture of Atmosphere," in Daidalos no. 68, 1998, pp. 18–27.

Peruse: Ben Van Berkel and Caroline Bos (ed.), ANY 23: Diagram Work, 1998. Ben Van Berkel and Caroline Bos, MOVE (: UN Studio and Goose Press, 1999)

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Jeff Kipnis and Annetta Massie, Mood River exhibition catalogue, The Wexner Center for the Arts 2002. Fredric Migayrou and Marie-Ange Brayer (eds.), Archilab: Radical Experiments in Global Architecture (Thames and Hudson, 2001).

Drawing –> Scripting

9. October 30

Read: Robin Evans, “Translations from Drawing to Building,” Translations from Drawing to Building (London: 1997), pp. 153–193. * Robin Evans, “In Front of Lines that Leave Nothing Behind,” on Chamber Works, K. Michael Hays (ed.) Architecture Theory Since 1968 (Cambridge: MIT Press, 1998), pp 480–490. Mario Carpo, “The Art of Drawing,” AD 225, 2013, pp. 128–133. Norman/Kelly “Introduction,” Eyecon, pp. 12–16. [~53]

Projects presented: Robin Evans’s diagrams, The Perfect Acts of Architecture exhibit, ’s Micromegas, Chamber Works and the Berlin Museum, Lebbeus Woods, Hejduk’s drawings, LTL Students present: Peter Eisenman: Early Houses (pick 2) Diller and Scofidio early work (drawings) and ICA Boston Steven Holl early drawings and the Simmons Hall at MIT / or Hejduk’s houses

Recommended: Edward Robins, “The Social Uses of Drawing: Drawing and Architectural Practice,” Why Architects Draw, pp. 27-49. Robin Evans, “Chapter 3: Seeing through paper,” The Projective Cast, pp. 107–121. Yve-Alain Bois, “Metamorphosis of Axonometry,” Daidalos September 1981, pp. 40–58. Mario Carpo, The Alphabet and the Algorithm (The MIT Press, 2011). Jimenez Lai and Neil Denari “On Drawing and L.A.” for the Chicago Biennale, https://medium.com/chicago-architecture-biennial/-51aa62fe29e#.e5a119vj2 “Newish Media,” A conversation between Lucia Allais and John May at GSD, https://www.youtube.com/watch?v=gqCUh16R4yw

Peruse: Jeffrey Kipnis, Terence Riley and Sherri Geldin (eds.), Perfect Acts of Architecture Exhibition Catalogue (, 2002).

10. November 6

Due: Fast Dossier Pin up (Title, Bibliography, Sample Spreads)

Read: * Greg Lynn, “Geometry in Time,” Anyhow (New York, 1998), pp. 165–173. * Stan Allen, “The Digital Complex,” LOG 5, Spring/Summer 2005, pp. 93–99. Patrick Schumacher, "The Parametricist's Manifesto," 2008. Michael Meredith, "Never Enough," From Control to Design (Actar, 2008), pp. 6–9. William O’Brien, Jr. “Totems,” LOG 26, pp. 131–133. Matthew Allen, “Screenshot Aesthetic,” MOS: Selected Works, PAP 2016, pp. 271–276. Adam Fure, “What does it really mean to be “post digital” in architecture and beyond?” The Architects’ Newspaper, May 2018, https://archpaper.com/2018/05/postdigital-for-the-record/ [~49]

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Projects presented: Seeing MVRDV as scripting, or La Villette projects as scripting + Gregg Lynn’s work, Aranda+Lash work, and the “Non-Standard Architecture Show” Students present: Ali Rahim or Hernan Diaz or Mark Gage The Living

Recommended: Gilles Deleuze, Section on the diagrammatic in “587 B.C.-A.D. 70: On Several Regimes of Signs,” A Thousand Plateaus (Minneapolis: University of Minnesota Press, 1987), pp. 141–148. Andrew Benjamin, “Lines of Work: On Diagrams and Drawing,” Architectural Philosophy: Repetition, Function, Alterity (London: Athlone Press 2001), pp. 143–55. Antoine Picon, “Science, Technology and the Virtual Realm,” in Alessandra Ponte and Antoine Picon eds. Architecture and the Sciences: Exchanging Metaphors (New York: Princeton Architectural Press, 2003), pp. 292–313. John McMorrough, "Ru(m)inationation: The Haunts of Contemporary Architecture," Perspecta 40: Monster (August 2008). Mario Carpo, “Digital Indeterminism: The New Digital Commons and the Dissolution of Authorship,” in Architecture In Formation: On the Nature of Information in Digital Architecture (Routledge, 2013). Lluis Ortega, The Total Designer (New York/Barcelona: Actar, 2017). Molly Wright Steenson, Architectural Intelligence (MIT Press, 2018). Mathew Allen, “The Inner Life of Things: Object Oriented Architecture, Programming Ontology” Scapegoat 11: Life, 2018. John May, “Life Autocompleted,” Harvard Design Magazine 48: No Sweat, F/W 2018.

Peruse: Ben Van Berkel and Caroline Bos (ed.), ANY 23: Diagram Work, 1998. MVRDV, FarMax (: 010 Publishers, 1998). From Control to Design: Parametric/Algorithmic Architecture (Actar, 2008) Becoming Digital, e-flux, https://www.e-flux.com/architecture/becoming-digital/

Image –> Surface

11. November 13

Read: Aldo Rossi, Architecture of the City, Oppositions Books (Cambridge, MAL MIT Press, 1982), pp. 21–41. * Venturi and Scott-Brown and Steven Izenour, “Theories of Ugly and Ordinary and Related Contrary Theories,” Learning from Las Vegas (Cambridge MA: MIT Press, 1972), pp. 128–163. (concentrate on the definitions of the decorated shed and the duck). Pier Vittorio Aureli, “Architecture and Content, Who is Afraid of Object-Form?” [~54]

Projects presented: Aldo Rossi’s early work, Site (James Wines) Students present: : The Vitra Fire Station and the BMW plant LoTEK or FAT Jurgen Meyer or Johnston Marklee

Recommended: Rafael Moneo, Chapter on Aldo Rossi, Theoretical Anxiety and Design Strategy in the Work of Eight Contemporary Architects (Barcelona: Actar, 2004), pp. 101–142. Fredric Jameson, “Transformations of the Image in Postmodernity,” The Cultural Turn (London, NY: Verso, 1998, 2000), pp. 93–135. K Michael Hays, “Mies Effect,” Mies in America, Phyllis Lambert (ed.), (Montreal: CCA; New York: Whitney Museum of American Art, 2001). Anthony Vidler, “The Third Typology,” Oppositions (Winter 1976-77), n. 7, pp.2-4.

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Rafael Moneo, “On Typology,” Oppositions (Summer 1978), n.13, pp. 23-45. Reinhold Martin, “Architecture’s image Problem: Have we Ever Been Postmodern?” Grey Room 22 (Winter 2006), pp. 6–29. Peruse: Aldo Rossi, Architecture of the City, Oppositions Books (Cambridge, MAL MIT Press, 1982). Andrew Kovacs’s Website, http://www.andrew-kovacs.com/

12. November 20

Read: * K. Michael Hays, “Critical Architecture Between Culture and Form,” Perspecta 21, 1984, pp, 14–29. K Michael Hays, “The Envelope as Mediator,” The State of Architecture at the Beginning of the 21st Century, Bernard Tschumi and Irene Cheng (eds.), (New York: The Monacelli Press, 2003), pp. 66–67. Jeffrey Kipnis, “The Cunning of Cosmetics,” in El Croquis, no. 84, 1997, pp. 22–28. Reinhold Martin, “Financial Imaginaries: Toward a Philosophy of the City,” Grey Room 42, 2011, pp. 60–79. Alejandro Zaera Polo, "The Politics of the Envelope," Volume 17, pp. 76–105. > skim only [~31+39]

Projects presented: Mies’s Seagram’s façade, Herzog and Demeuron’s early work Students present: Fondation Cartier or Barkow Leibinger Facades Herzog and Demeuron American works

Recommended: K. Michael Hays, “Odysseus and the Oarsman, or, Mies’s Abstraction Once Again,” in the Presence of Mies, ed. Detlef Mertins (New York: Princeton Architectural Press, 1994) pp. 235–248. Rafael Moneo, Chapter on Herzog and de Meuron, Theoretical Anxiety and Design Strategy in the work of eight contemporary architects (Barcelona: Actar, 2004), pp. 361–404. Herzog and de Meuron, Natural History, Lars Muller Publisher 2003. Peggy Deamer, “Structuring Surfaces: The Legacy of Whites,” Perspecta 32: Resurfacing Modernism, pp. 9–99. Mark Taylor, “Reflections on Skin,” Columbia Documents of Architecture and Theory, v. 6, 1997, pp. 13–20. “An interview with Herzog & de Meuron,” with Pierre de Meuron, Jacques Herzog and Cynthia Davidson in ANY no.13, 1996, p.48–58. Sanford Kwinter, “Playboys of the Western World,” ANY no.13, 1996. Reinhold Martin, “Atrocities, or Curtain Wall as Mass Medium,” Perspecta 32 (2001), pp. 66–75.

Peruse: Terence Riley, Light Construction (Museum of Modern Art, 2004).

November 27 – NO CLASS

Utopia –> Projection

13. December 4

Due: Revised Dossier Title, Bibliography, Introduction

Read: Rem Koolhaas, “Europeans: Biuer! Dali and Le Corbusier Conquer New York,” Delirious New York (New York: The Monacelli Press, 1994, originally published 1978), pp. 235–249. (text is on every other page). Sarah Whiting and RE Somol, “Notes around the Doppler Effect and other Moods of Modernism,” in Perspecta 33, 2002. pp 72–77. Reinhold Martin, “Critical of What?” Harvard Design Magazine 21, pp. 1-5.

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Hilde Heynen, “The need for Utopian thinking in Architecture,” Hunch 6/7, pp. 241–243. Bruno Latour, “An Attempt at a Compositionist Manifesto,” New Literary History 41, 2010, pp. 471–490. John McMorrough, “Funny, Crazy, Silly, Lyrics for The Suspension of The Architectural Disbelief,” LOG 37, pp. 229–233. [~40]

Recommended: Manfredo Tafuri, “L’Architecture dans le Boudoir; Architecture of Criticism and the Criticism of Language,” in K. Michael Hays (ed.) Architecture Theory Since 1968 (Cambridge: MIT Press, 1998), pp. 148-167. Manfredo Tafuri, Architecture and Utopia, Design and Capitalist Development (Cambridge, MA: The MIT Press, 1979). Max Horkheimer and Theodore Adorno, “Culture Industry: Enlightenment as Mass Deception,” Dialectic of Enlightenment (New York: Continuum Publishing Company, 1997, original publication in 1944), pp. 3–42. Terry Eagleton, After Theory (Basic Books, 2004). Michel Foucault, “What is Revolution?” The Politics of Truth, (New York: Semiotext(e), 1997), pp. 83–100. Nelson Goodman, Ways of Worldmaking (Hackett Publishing Company, 1978). Fredric Jameson, “Progress versus Utopia; Or, Can We Imagine the Future?” Science Fiction Studies, Vol. 9, No. 2, 1982, pp. 147–158. Timothy Hyde, “Proximate Utopia, Or the Semblance of the Future,” Harvard Design Magazine 31, Fall/Winter 2009/10. Andy Merrifield, “Magical Marxism,” Environment and Planning D: Society and Space 27, 2009, pp. 381–386.

December 11 – NO CLASS (final studio review week + help thesis students)

December 18 – Dossiers due + final review with guests (TBC)