composite photo-drawings by Andriani Plessa

hybrid drawing of imagined room and street, by Jurgita Korsakaite

Split sites and Simultaneous spaces

Text
Ensure that you update your project proposal text regularly. The text based descriptions of your work are an integral part of the years work and should be used as an ongoing aid and guide.

Portfolios
Start to develop your portfolio as a consistent body of work. The design and layout of your portfolio should be in response to your own personal design sensibilities.

Each sheet is a 'piece' and as such has been constructed by you; the portfolio itself, the manner of drawing, the visual ordering, the physicality of a piece as well as its content, are all aspects that contribute to others' understanding and your own exploration of the design process.

The pieces should be approached as forming the actual process of investigation and design - not a retrospective description.

The minimum size of your portfolio should be A2.

Friday 31st October

On Friday we will begin to explore our rooms and streets using animation and moving image techniques. These techniques will be employed to understand and develop further the quality of space, materiality, views, procession, light and shadow of your proposal.

Friday 14th November: Pin Up

Drawings for the pin up must be hybrid drawings.
Hybrid drawings use a combination of media and techniques (hand drawing, cad drawing, photography, collage, printmaking, 3d modelling, physical modelling) and are often composed of more than one view to tell at least two key ideas simultaneously.

The city is a phenomenon that exceeds all our capacity of description, representation and recording and, consequently, it is always experientially infinite. A street in a film does not end at the edge of the screen; it expands all around the viewer as a network of streets, buildings and life situations. It is exactly this activation of the imagination that is the invaluable function of literature and all art.

Juhani Pallasma, The Architecture of Image

images top to bottom: Morphosis, Slamhounds - Neil Spiller and Stuart Munro, Hannah Lambert

Exposure

Split Sites and Simultaneous Spaces Utilising the key texts propose a virtual/imagined room and street. The supplementary text is a guide to qualities of light and materiality that should be explored in your proposal.

Rules.
Your proposal must be concerned with TIME, NARRATIVE, LIGHT, MATERIALITY, OCCUPANCY and USE.

Key Dates
Friday 17th October: Brief Issued
Friday 20th November: Crit

Key Texts
Invisible Cities, Italo Calvino.
Species of Spaces and Other Places, Georges Perec.
Naples, Walter Benjamin.

Supplementary Text
The Lume Materiale in the Architecture of Venice, Perspecta, Vol 24, Marco Frascari.

Lebbeus Woods, Sarajevo Reconstruction, 1994-95

Buildings are used as a popular stage. They are divided into innumerable, simultaneously animated theatres. Balcony, courtyard, window, gateway, staircase, roof are at the same time stage and boxes. p170 Here, too, there is interpenetration of day and night, noise and peace, outer light and inner darkness, street and home. p175, Walter Benjamin, Naples, One-way Street, and other writings.

Invisible Cities
Recommended Chapters;
Thin Cities 2, p35. Thin Cities 3, p49. Cities and Signs 5, p61. Thin Cities 5, p75. Trading Cities 4, p76. Trading Cities 5, p88. Cities and Eyes 4, p90. Cities & Eyes 5, p105. Cities and the Sky 4, p144. Continuous Cities, p 152.


Species of Spaces and Other Places, Georges Perec

Polo: ‘Sire, now I have told you about all the cities I know.’ ‘There is still one of which you never speak.’ Marco Polo bowed his head. ‘Venice,’ the Khan said. Marco smiled. ‘What else do you believe I have been talking to you about?’ The emperor did not turn a hair. ‘And yet I have never heard you mention that name.’ And Polo said ‘Every time I describe a city I am saying something about Venice.’

Italo Calvino, Invisible Cities, 1972.