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Aarchitecture 19Download AARCHITECTURE 19 THIS ISSUE CONTINUES TO TRACK THE PROGRESS OF A YEAR IN THE LIFE OF THE SCHOOL BY FOCUSING ON ‘STUFF’ IN ORDER TO ESTABLISH WHAT COMES AFTER ‘RESEARCH’ – THE TOPIC EXAMINED IN THE LAST ISSUE. WE CONTINUE TO REFLECT ON AA LIFE FROM AS MANY DIFFERING VIEWPOINTS AS POSSIBLE, WITH TUTORS, STUDENTS, MEMBERS AND GRADUATES OFTEN PROPOSING AS MANY NEW QUESTIONS ABOUT THe ‘STUFF’ oF THE SCHOOL AS THEY DO ANSWERS. INCLUDED IN THAT FOCUS ARE STARK U S T F F CONTRASTS BETWEEN DIPLOMA UNITs – fROM SHIN EgASHIRA’S TEACHING PHILOSOPHY IN UNIT 11 OFFERING A DIFFERENT PERSPECTIVE TO THE WIDE SPECTRUM OF PRODUCTION IN LIAM YOUNG AND KATE DAVIES’ UNKNOWN FIELDS DIVISION, DIPLOMA 6. MEANWHILE, A KALEIDOSCOPIC PHOTO ESSAY AND COMMENTARY SHOWCASE THE HELMETS OF INTERMEDIATE 11’S IbIZA-BASED UNIT. AND THIRD NEWS FROM THE ARCHITECTURAL ASSOCIATION YEAR STUDENT JULIET HAYSOM DEALS WITH THE SHOddy, HIGHLY TELLING PHOTOGRAPHY OF EBAY’S MARKET STALL HOLDERS AS PART OF HER WORK IN INTERMEDIATE UNIT 5. STUFF, A WORD THAT HAS ENJOYED FREQUENT AppEARANCES IN PETER COOK’S LECTURES AT THE SCHOOL OVER MANY YEARS, TOOK ON A DIFFERENT MEANING FOR HIM ALTOGETHER WHEN AArchitecture 19 / Term 2 2012/13 www.aaschool.ac.uk ©2013 All rights reserved Published by the Architectural Association 36 Bedford Square, London WC1B 3ES Please send your news items for the next issue to [email protected] Student Editorial Team Eleanor Dodman (Fourth Year) Radu Remus Macovei (Third Year) Roland Shaw (Fourth Year) Editorial Board Alex Lorente, Membership Brett Steele, AA School Director Zak Kyes, AA Art Director Graphic Design Claire McManus AA Photography Valerie Bennett and Sue Barr Printed by Blackmore, England Architectural Association (Inc) Registered Charity No 311083 Company limited by guarantee Registered in England No 171402 Registered office as above Cover: Wax rubbing of coal hole cover outside 33 Bedford Square by Mark Simmonds, London, May 2013, www.marksimmonds.info AARCHITECTURE 19 THIS ISSUE CONTINUES TO TRACK THE PROGRESS OF A YEAR IN THE LIFE OF THE SCHOOL BY FOCUSING ON ‘STUFF’ IN ORDER TO ESTABLISH WHAT COMES AFTER ‘RESEARCH’ – THE TOPIC EXAMINED IN THE LAST ISSUE. WE CONTINUE TO REFLECT ON AA LIFE FROM AS MANY DIFFERING VIEWPOINTS AS POSSIBLE, WITH TUTORS, STUDENTS, MEMBERS AND GRADUATES OFTEN PROPOSING AS MANY NEW QUESTIONS ABOUT THe ‘STUFF’ oF THE SCHOOL AS THEY DO ANSWERS. INCLUDED IN THAT FOCUS ARE STARK CONTRASTS BETWEEN DIPLOMA UNITs – fROM SHIN EgASHIRA’S TEACHING PHILOSOPHY IN UNIT 11 OFFERING A DIFFERENT PERSPECTIVE TO THE WIDE SPECTRUM OF PRODUCTION IN LIAM YOUNG AND KATE DAVIES’ UNKNOWN FIELDS DIVISION, DIPLOMA 6. MEANWHILE, A KALEIDOSCOPIC PHOTO ESSAY AND COMMENTARY SHOWCASE THE HELMETS OF INTERMEDIATE 11’S IbIZA-BASED UNIT. AND THIRD NEWS FROM THE ARCHITECTURAL ASSOCIATION YEAR STUDENT JULIET HAYSOM DEALS WITH THE SHOddy, HIGHLY TELLING PHOTOGRAPHY OF EBAY’S MARKET STALL HOLDERS AS PART OF HER WORK IN INTERMEDIATE UNIT 5. STUFF, A WORD THAT HAS ENJOYED FREQUENT AppEARANCES IN PETER COOK’S LECTURES AT THE SCHOOL OVER MANY YEARS, TOOK ON A DIFFERENT MEANING FOR HIM ALTOGETHER WHEN HE STARTED TO BUILD HIS PROJECTS. HIS LIVELY COMMENTARY ABOUT HIS OWN RECENT PROGRESS IN ARCHITECTURE EXPANDS UPON THE VIEWS OF TUTORS AND STUDENTS. HAPPILY, IT SEEMS IMPOSSIBLE TO COME TO AN AGREED DEFINITION OF THIS ISSUE’S THEME OF STUFF, AND SO WE ARE PLEASED TO DEMONSTRATE, WITH AARCHITECURE 19, THAT THE POSSIBILITIES OF PRODUCTION AT THE AA CONTINUE TO EXPAND, GROW AND DIVERSIFY, IN NO SMALL WAY OWING TO THEIR OWN DETAILED UNKNOWABILITY. STUDENT EDITORS: ELEANOR DODMAN RADU REMUS MACOVEI ROLAND SHAW CONTENTS 2 SYSTEMS, STORIES AND THE STUFF INBETWEEN 3 THE UNIT SPACE AS MODEL CITY 4 BLUEPriNTS FOR THE fuTurE 6 SPACE HELMETS 9 A COLLECTION OF THINGS FOUND ON A DETOUR 12 STEELE ON STuff 14 ArCHITECTurE AS EXHibiTION SPACE 16 STuff 18 THE EXHibiTION AS A PROJECT 20 ArTISTS’ TALKS AT THE AA 23 META-REALITIES 24 A VISIT TO THE ArCHIVE AA CONVERSATIONS 25 INTRODUCTION TO FAbriCATION OF KALEIDOSCOPES 26 TOO muCH IS NEVER ENOUGH! 28 LET’S GET STuffED! 30 ‘WE HAVE A LOT OF STuff IN THE PHOTO LibrAry’ 34 EBAY STILL LiFES 36 THE INTERNET IS STuff 38 mEmbERSHIP EVENTS 40 REMEmbEriNG ALAN COLQUHOUN, THE friEND 41 rECOmmENDED READING 42 NEW frOM AA PubLICATIONS 44 NEW frOM BEDFORD PrESS 46 NEWS NEXT ISSUE’S THEME SCHOOL ANNOUNCEMENT STUDENT ANNOUNCEMENT 2 SYSTEMS, STORIES AND THE STUFF INBETWEEN Kate Davies and Liam Young, unit masters from Diploma Unit 6, explain the unit’s work through networks and narratives. Cities like London are networked objects that condition and are conditioned by distant landscapes. Those landscapes – the iconic and the ignored, the excavated, irradiated and the pristine – are embedded in global systems that connect them in surprising and complicated ways to our everyday lives. Each year the Unknown Fields Division navigates a different global trajectory, setting out on expeditions through alien landscapes, industrial ecologies and precarious wilderness to bear witness to alternative worlds. We do this as a means of understanding our familiar world in new ways. The Division is concerned with complex global systems, supply chains and infrastructure – those elusive tendrils, twisting threadlike over everything around us, crisscrossing the The Division is interested in the planet, connecting the mundane to the spaces between things. Here architectural extraordinary. Our physical environment is interventions can exist between a logic shaped by this stuff, buffeted by economic board in a supercomputer and the frozen winds, stitched and stretched into place Arctic Ocean it is modelling, or in the ivision, ivision, through global demand. We view infrastruc- millisecond time-lag of a stock market trade. D ture as a series of interwoven narratives, They can exist between your gold-plated a network of hidden stories that connect us headphone jack and a hole in the Australian to each other, and to remote locations. Outback two miles wide, between where Stories are a useful connective tissue a satellite thinks you are and where you with which to make sense of messy and really are. They can exist in the 60-second complex systems. Through storytelling warning before an earthquake in Mexico we can relate to some of this complexity City or along the 30,000-mile journey your in meaningful ways, chronicling existing pair of Levis 501 takes before you get to conditions and constructing a series of wear them. parallel narratives and partial fabrications. In this way projects emerge as a We use speculative scenarios as critical constellation of stories and strategies, instruments for exploring the conse- fragments and fables that stitch together quences of emerging conditions, often dislocated places, unravelling complicated deploying time-based media – film, systems and interrogating contemporary animation, gaming – to articulate dynamic relationships between culture, technology For more information on Unknown Fields information more For spaces, ebbs and flows, cycles and shifts. and nature. www.unknownfieldsdivision.com please visit 3 THE UNit SPACE AS moDel City Shin Egashira, unit master of Diploma Unit 11, describes his approach through the accumulation of models in his unit space. The first people to open the door of Dip 11’s What if we draw an analogy to the Unit space are cleaners who come around notion of ‘Transitional Object’ used in child at 7am every morning. The challenge for psychology? A series of comfort objects them is that they have to guess what to that not only babies and toddlers but also leave and what to trash. Somehow, their grown-ups use and leave behind them as guess is always right. they help us make associations between There are different cycles. For instance objects and symbolise a bridge between objects that come and go weekly and daily the imaginary and the real that is unknown are usually on the table and floor. Monthly to collective. Mark Cousins suggests that objects usually reside on the wall and side when toddlers discharge by themselves table. Ours is a space for both the accumu- for the first time, they consider their smelly lation and production of objects, tools and shit as the most fascinating piece of architectural things, which are produced artwork. I am not at all suggesting the yearly with different teams of students and Dip 11 unit space is full of shit; perhaps it’s briefs. The academic year usually starts analogous to something like an attic of an with the making and unmaking of collage old house (or a mad house) where ambi- cities. The aim is partly to recycle leftover tious young architects imagine their cities pieces of models from previous years, by playing with their toys; reinventing them giving new concepts by re-organising them by cutting, dropping, juxtaposing, piling, within a set of new contexts. A new London adjoining, extruding, drawing and re- emerges from the clusters of old objects arranging, playing games selecting and in the unit space every year. There are deselecting. Objects that we often end up 32 building models today as I counted. not throwing away because of their singular About half of them are designs in values often end up in the attic. iploma Unit 11 please visit please visit 11 Unit iploma progress from current students. Some Dip 11’s objects fill the gaps between D of the models are incomplete as they are ideas and procedures: zooming in and dissected through acts of design explora- out, making and looking, representing tions or destroyed or improved by partial and designing. The type of model we don’t removals. There are more than 150 detail make is a complete illustration of how the fragments and over 600 pieces of material proposals may look.
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