https://aavanzadaqro.cargo.site Arquitectura Avanzada - QRO AD2024 Mon, 09 Sep 2024 03:09:43 +0000 https://aavanzadaqro.cargo.site en https://aavanzadaqro.cargo.site/Home Wed, 20 Jul 2022 18:47:09 +0000 Arquitectura Avanzada - QRO AD2024 https://aavanzadaqro.cargo.site/Home “Repair occupies and constitutes an aftermath growing at the margins, breakpoints, and interstices of complex sociotechnical systems as they creak, flex, and bend their way through time. It fills in the moment of hope and fear in which bridges from old worlds to new worlds are built...” - Steven Jackson <img width="2800" height="2000" width_o="2800" height_o="2000" data-src="https://freight.cargo.site/t/original/i/290d5d44b19a055efbc43b9b2fac54e3e40c265cda5d112acca44a27ca2c28f1/Charlotte-Malterre-Barthes-Dziersawk_Page_2.png" data-mid="216056734" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/290d5d44b19a055efbc43b9b2fac54e3e40c265cda5d112acca44a27ca2c28f1/Charlotte-Malterre-Barthes-Dziersawk_Page_2.png" /> Excerpt from “New Rules for a Generous School of Architecture” by Charlotte Malterre-Barthes and Zosia Dzierzawska, 2021.&nbsp;https://www.koozarch.com/essays/its-giving-rules-for-a-generous-school. How will we learn spatial practice in 2050? Given that the architecture and construction industries are responsible for 40% of global carbon emissions and territory-altering material extraction, there is a growing urgency to radically rethink how and why we build and therefore how we teach architecture. If spatial practice were to orient more towards repair and reuse, what are the skills, knowledges, subjects, and values that future architects would need to learn? Where and how would they learn - what might be the future modes of learning and teaching for non-extractive regenerative architecture and planetary wellbeing? Repair the school. What do we question? What needs repair? What should be maintained? Can we interrogate ideas around productivity and production; relationships to capitalist accumulation and corporate power; disciplinary boundaries/centers/margins; myths of individual creative genius; assumptions about expertise and professionalization; hierarchies of class, race, gender, and more; insularity and immersion; types of spatial knowledges that get lifted up; binaries and separations of body and mind, of self and community; commensurability to the impacts and root causes of climate change?&nbsp; School of repair. What/how do we need to learn and teach in the climate-changed future? How to create spaces of collective learning about repair, care, co-learning, unbuilding, speculation, solidarity, and other futuring practices for planetary wellbeing? What other pedagogies, methods, and formats arise? What if schools prioritize building from what already exists and creatively rescripting the things around us? Can schools work with an open definition of architecture that goes beyond the imaginary “finished” building at the end of some closed linear narrative, to instead a dynamic assemblage of materials and networks and processes and shifting relationships?&nbsp; Re-pairing the school with ____. Who/what do we sister with to co-speculate schools of repair? How do we learn from other spatial knowledges oriented towards futures of repair and wellbeing? How do we learn from and with local practices and organizations, and in the process build power and build possible worlds? To do that, how and what do we unlearn? In this studio, we operate from Querétaro as a local testing ground and site of learning, recognizing the city as impacted by and inextricably implicated in planetary crises. The city is home to 18 architecture schools yet these schools and its emerging professionals are implicated in local urban conflicts from rampant real estate speculation and resource-intensive sprawl, to struggles for access and mobility in a car-centric culture, to landscape-altering sites of extraction, to displacement of pueblos originarios. We will learn from different neighborhoods of the city as palimpsest of histories and cultural legacies and everyday appropriations and ongoing political contestations – which we will actively engage alongside local community organizations. This semester is broken into three modules: Re-/Co-/Un-Learning (where we situate ourselves, engage in a collective build in order to world-build, and fill our toolbox with methods, histories, skills, and frameworks); School of _____ (where we develop our speculative projects), and Future Now (where we bring pieces of the future world to our classroom, and translate the project across media). &nbsp; To design a school of architecture while in a school of architecture is a project of critical reflection and projection of one’s values into a desired future; it is a call to assert agency over one’s education; it is to question how and why and where one should learn while actively formally engaged in (and paying for and spending time on) learning; it is a process of meta critique of one’s institution; it is to turn one’s gaze upon one’s own position and purpose in the architecture field. Pedagogically, we will question the modes of studio learning centered around continuous production, competition among peers, and dissemination of images – and instead work towards meaning-making for meaningful making, collaborative production, and creation of processes and infrastructures. Through critiquing how we learn while we learn, we hope this studio will be a space to interrogate the nature of architectural education and our profession in a climate-changed world. What new building protocols we need, whether we need more buildings at all, how to maintain existing building stock and critically engage with the contexts it carries, how to design maintenance and re-use strategies, how to rearticulate access to ownership and ideas of property, how to equitably redistribute materials and resources… This is all on the table for speculation and intervention in this studio. “What the world will become already exists in fragments and pieces, experiments and possibilities.”&nbsp; - Ruth Wilson Gilmore Coordinated by Cynthia Deng. Co-taught with Nadyeli Quiroz, Angela Fellowes, Ana Isabel Olvera Alacio, Lucas Hoops, Mariana Covarrubias, Daniel Camiro, Yetzi Tafoya, Daniela Cruz Naranjo, Luisa Medina, Israel Viadest, Joaquín Barriendos, and visiting instructors Celia Chaussabel and Katie Rotman. [This studio addresses many of the UN’s Sustainable Development Goals / Objetivos de Desarrollo Sostenible, with a focus on Goal 11, Goal 12, and Goal 13.] https://aavanzadaqro.cargo.site/Mobile-nav Wed, 20 Jul 2022 18:47:10 +0000 Arquitectura Avanzada - QRO AD2024 https://aavanzadaqro.cargo.site/Mobile-nav Repair the School / School of Repair: How will we learn spatial practice in the future? ︎ Home ︎ Schedule ︎ Activities ︎ Resources ︎ Collections ︎ Recordings ︎ Projects Concentración de la Escuela de Arquitectura, Arte y Diseño+ Laboratorio de Arquitectura Avanzada https://aavanzadaqro.cargo.site/AD24-Schedule Sat, 03 Aug 2024 01:24:10 +0000 Arquitectura Avanzada - QRO AD2024 https://aavanzadaqro.cargo.site/AD24-Schedule <img width="5573" height="1619" width_o="5573" height_o="1619" data-src="https://freight.cargo.site/t/original/i/1dd4debd6dee72d742a0171807c882fa06e15ed5df6c51d64320121a9f1500f6/GRAFICO-schedulemap_Mesa-de-trabajo-1.png" data-mid="215773177" border="0" src="https://freight.cargo.site/w/1000/i/1dd4debd6dee72d742a0171807c882fa06e15ed5df6c51d64320121a9f1500f6/GRAFICO-schedulemap_Mesa-de-trabajo-1.png" /> UN-/RE-/CO-LEARNINGModule 1&nbsp;[Contexts, Tools, Capacity-building, Manifestos] WEEK 1.&nbsp; Readings repair and pedagogyPedagogy reference Are.na (open channel! feel free to add)Various authors. koozArch Issue #03 New Rules for School&nbsp;Jorge Otero-Pailos in conversation with Nancy Levinson and Frances Richard. Repairing Architecture Schools. Places Journal. 2024.Nishat Awan, Tatjana Schneider, Jeremy Till. Introduction to Spatial Agency; other ways of doing architectureCharlotte Malterre-Barthes and Zosia Dzierzawaska. New Rules for a Generous School of Architecture. 2021.&nbsp; Elisa Iturbe. articles on “Architecture and Carbon Modernity”.&nbsp;(shorter) + (longer).&nbsp; Shannon Mattern. “Maintenance and Care” (2018).&nbsp;Steven Jackson. “Rethinking Repair” (2018). p. 221-223, 227-231. M / Aug 5 9:00 - 13:00&nbsp; &nbsp; Welcome and warm-up&nbsp; &nbsp; Get-to-know-you presentations with head instructors &nbsp; &nbsp; Course introduction &nbsp; &nbsp; Discussion on Learning&nbsp; &nbsp; Introduction to Carrier Bag Space DICI capacitation training part 1 Tu / Aug 6 9:00 - 13:00&nbsp; &nbsp; Introduction Activity 1&nbsp; &nbsp; Input: Scales of Repair&nbsp; &nbsp; Discuss Are.na references DICI capacitation training part 2 W / Aug 7 Activity 1 notecard DUE end of class 9:00 - 12:00&nbsp; &nbsp; Input: Climate Change, Construction, Extraction &nbsp; &nbsp; Discuss collected items &nbsp; &nbsp; Activity 1 work Th / Aug 8 12:00 - 18:00 &nbsp; &nbsp; Rhino Workshop&nbsp; Fr / Aug 9 Activity 1 DUE Aug 11 12:00 - 20:00 &nbsp; &nbsp; Rhino Workshop WEEK 2. Readings reuse, misuse, play, collective objects Lionel Devlieger. Waste not: Rotor and the practice of deconstruction. 2019.&nbsp; bureau SLA. Material Biographies: An Emotive Exploration of Material’s Identity. 2023.Cas Holman. Radical Play. 2023.Alice Paris. Technology, Extinction, and the Decorator Crab. 2022.Ana Miljacki. Not-Habits. 2020.Michel Serres. Theory of the Quasi-Object. 1982. M / Aug 12 9:00&nbsp; &nbsp; &nbsp; COLLECTIVE BUILD!&nbsp;&nbsp; &nbsp; Introductions&nbsp; &nbsp; Skills for the Future: Reuse with Celia Chaussabel&nbsp; &nbsp; Project A Tu / Aug 13 9:00 &nbsp; &nbsp; COLLECTIVE BUILD!&nbsp; &nbsp; Project B W / Aug 14 9:00 &nbsp; &nbsp; COLLECTIVE BUILD!&nbsp; &nbsp; Project B Th / Aug 15 9:00 &nbsp; &nbsp; COLLECTIVE BUILD!&nbsp; &nbsp; Skills for the Future: Collaboration with Katie Rotman&nbsp; &nbsp; Project C Fr / Aug 16 9:00 &nbsp; &nbsp; COLLECTIVE BUILD!&nbsp; &nbsp; Project C WEEK 3.&nbsp; Readings learning architecture otherwise bell hooks. Black Vernacular: Architecture as Cultural Practice. 1995.&nbsp; Ann Lui. Office of the Public Architect. 2020.&nbsp; Sumayya Vally. Letter to a young architect. 2020.bell hooks. Introduction in Teaching to Transgress: Education as the Practice of Freedom. 1994. M / Aug 19 9:00 &nbsp; &nbsp; COLLECTIVE BUILD! &nbsp; &nbsp; Project C Tu / Aug 20 9:00 &nbsp; &nbsp; COLLECTIVE BUILD!&nbsp; &nbsp; Project C W / Aug 21 9:00 &nbsp; &nbsp; COLLECTIVE BUILD!&nbsp; &nbsp; Project C Th / Aug 22 9:00 &nbsp; &nbsp; COLLECTIVE BUILD!&nbsp; &nbsp; Project C Fr / Aug 23 Activity 2 DUE Aug 25 9:00 &nbsp; &nbsp; COLLECTIVE BUILD!&nbsp; &nbsp; Final Celebration and Documentation WEEK 4.&nbsp; Readings architectural education past, present, future Rainer K. Wick. Three Preliminary Courses: Itten, Moholy-Nagy, Albers.Regina Bittner. Towards a Tangible Pedagogy. Beatriz Colomina, Ignacio Galán, Evangelos Kotisioris, Anna-Maria Meister. Introduction to Radical Pedagogies. Spanish alt summary here. Bryony Roberts and Abriannah Aiken. map of “Feminist Spatial Practices, Part 1”.Comunal et al. Pedagogías Comunas para una Producción Colectiva del Hábitat. 2023. M / Aug 26 9:00 &nbsp; &nbsp; Announcements + Intro Activity 3&nbsp; &nbsp; Notes on History of Architecture Schools with Joaquín Barriendos Tu / Aug 27 9:00 &nbsp; &nbsp; Desk Crits&nbsp; &nbsp; Class mapping activity W / Aug 28 9:00&nbsp; &nbsp; Arquitectura y Política en América Latina with Josep Montaner&nbsp; &nbsp; Desk Crits &nbsp; &nbsp; Notes on History of Architecture Schools with Marcelo Sánchez Th / Aug 29 9:00 &nbsp; &nbsp; Desk Crits Fr / Aug 30 Activity 3 DUE Sep 1 9:00 &nbsp; &nbsp; Final Pin-up Case Study Activity WEEK 5.&nbsp; Readings on learningPaulo Freire. Chapter 2 of Pedagogy of the Oppressed. 1970.Ivan Illich. Deschooling Society. Chapter 6: Learning Webs. 1970.bell books. Teaching to Transgress. Chapter 1: Engaged Pedagogy, and Chapter 12: Confronting Class in the Classroom. 1994.Neil Postman and Charles Weingartner. What’s Worth Knowing. 1969.Silvia Federici. Re-enchanting the World. The University: A Knowledge Common? 2019.&nbsp;Lisa Parks. Media Fixes: Thoughts on Repair Cultures. 2013.La Historia Jamás Contada. 08 / Educación para el buen vivir. 2022. M / Sep 2 9:00 &nbsp; &nbsp; MEET IN CENTRO HISTÓRICO&nbsp; &nbsp; Announcements + Intro Activity 4&nbsp; &nbsp; Guided Walk: Restoration with Luisa Medina&nbsp;and Paco Bulos&nbsp; &nbsp; Analysis of Architecture Pedagogies with Paola Barragan Tu / Sep 3 10:00 - 1:00&nbsp;&nbsp; &nbsp; MEET IN 14401&nbsp; &nbsp; Input School for Poetic Computation with Sara Martinez&nbsp; &nbsp; Input DistritoQRO with Paola Barcena 16:00 - 18:00&nbsp; &nbsp; MEET IN MU’TA BIOCULTURAL&nbsp; &nbsp; Inputs from Mu’Ta with Liz Harzbecher and Christian Robles, Coordinación de Sustentabilidad UAQ with Mercedes Cabrera, Revuelta/Club de Reparadores with Ana Jimena Luna W / Sep 4 9:30 - 11:30&nbsp; &nbsp; MEET IN ESCUELA DE ARTES Y OFICIOS UAQ&nbsp; &nbsp; Tour and Input with Ing. Francisco García12:00 - 2:00 &nbsp; &nbsp; MEET IN EXPLANADA&nbsp; &nbsp; Input Water and Learning with Nadyeli Quiroz and Daniela Cruz 18:00 - 20:00&nbsp; &nbsp;MEET AT PLAZA BORREGO &nbsp;&nbsp; Rodada 0 with C-CUL and Pedeleanda Th / Sep 5 9:30 - 11:30 &nbsp; &nbsp; MEET IN 14401 &nbsp; &nbsp; Input Digital Fabrication tools, Mixed Realities, and AI with Anaisabel Olvera12:00 - 1:30&nbsp; &nbsp;&nbsp; &nbsp; &nbsp; Input La transformación a través de la paz with Ciudad Justa, Aula Abierta&nbsp;and Café de la Paz Fr / Sep 6 Activity 4 DUE Sept 8 12:30 - 1:30&nbsp;&nbsp; MEET IN EXPLANADA, be prepared to be outdoors starting at 14:00&nbsp; &nbsp;Input Colonialismo energético con Josefa Sánchez y Alberto Matarán14:00 - 18:00&nbsp; &nbsp; &nbsp; &nbsp; Talleres corporales with Mariana Covarrubias WEEK 6.&nbsp; Readings futures and manifestosDavid J. Staley. Alternative Universities: Speculative Design for Innovation in Higher Education. Introduction. 2019.The Care Collective. The Care Manifesto. 2020.Mierle Laderman Ukeles. Manifesto for Maintenance Art. 1969.Huey P Newton and Bobby Seales. The Black Panthers: Ten Point Program. 1966.Charlotte Malterre-Barthes. Moratorium manifesto. 2022. [based on “Stop Building? A moratorium on new construction”. (shorter) + (longer).]Various authors, Collection of Architectural Manifestos. Various political manifestos, manifestos.net Ursula K. Le Guin. “The Carrier Bag Theory of Fiction” 1986.Nicholas Nova &amp; Anaïs Bloch. Dr. Smartphones: an ethnography of mobile phone repair shops. 2020.Anthony Dunne &amp; Fiona Raby. Speculative Everything: Design, Fiction, and Social Dreaming. 2013. M / Sep 9 9:00 &nbsp; &nbsp; Intro Activity 5 Manifesto&nbsp; &nbsp; Input on Manifestos&nbsp; &nbsp; Initial Exercises Tu / Sep 10 9:00&nbsp; &nbsp; Futures Design Workshop with&nbsp;Isra Viadest W / Sep 11 9:00&nbsp; &nbsp;Manifesto development activities Th / Sep 12 9:00&nbsp; &nbsp;Manifesto development activities Fr / Sep 13 Activity 5 DUE Sept 15 9:00&nbsp; &nbsp;Final Pin-up Manifestos SCHOOL OF _______Module 2&nbsp;[Project] WEEK 7.&nbsp; Readings embodied thinking + architectural ethnographyDonna Haraway, “Situated Knowledges: The science question in feminism and the privilege of partial perspective” (1988). p.583-584, 589-590.Bruno Latour and Albena Yaneva, “Give Me a Gun and I Will Make All Buildings Move”: An ANT’s View of Architecture. p.80-89 Junzo Kuroda, Momoyo Kaijima, Yoshiharu Tsukamoto.&nbsp;Made in Tokyo: Guide BookMomoyo Kaijima. Learning from Architectural Ethnography. 2018.Momoyo Kaijima. Video: Architectural Ethnography. Seminario Arquitectura y Etnografía. FAADC UDLA. 2021.Raymond Lucas. Anthropology for Architects. Intro + Chapter 1. 2020.Marie Combette. Video:&nbsp;Levantamientos etnográficos, colecciones y cartografías. 2020.Please read and catch up with the readings/resources from Week 5 On Learning M / Sep 16 HOLIDAY Tu / Sep 17 9:00&nbsp; &nbsp; FIELD TRIP TO SAN MIGUEL DE ALLENDE (van leaves Tec at 9am)&nbsp; &nbsp; ︎ info on visit to SMA! W / Sep 18 9:00&nbsp; &nbsp;Intro to Project: School of _____&nbsp; &nbsp;Urban ethnography workshop Th / Sep 19 11:00-12:00&nbsp; &nbsp;Zoom: Input Biomaterials with Alejandro Weiss / LABVA (On your own time)&nbsp; &nbsp;Carry out urban ethnography activities at your site(s) Fr / Sep 20 9:00&nbsp; &nbsp;Official Desk Crits (all projects) Sa / Sep 21 9:00 - 17:00 &nbsp; &nbsp; Intensive Rhino + Grasshopper Workshop WEEK 8.&nbsp; Readings decolonization + degrowth Eve Tuck and K. Wayne Yang, “Decolonization is not a Metaphor” (2012). Spanish version here.Ana Maria Leon and Andrew Herscher, “At the Border of Decolonization” (2020). Spanish version here. Silvia Rivera Cusicanqui,“Ch'ixinakax utxiwa. Una reflexión sobre prácticas y discursos descolonizadores” (2010). p.53-73.Jason Hickel, “The anti-colonial politics of degrowth” (2021) M / Sep 23 10:00&nbsp; &nbsp; Zoom: Input Philosophy of Technology and Tools with Lucas Hoops 11:30&nbsp; &nbsp; Zoom: Input Games as Pedagogy with christin hu 17:00 - 20:00&nbsp; &nbsp; Laboratorio Arquitectura Avanzada:&nbsp;Rhino + Grasshopper Workshop &nbsp; Tu / Sep 24 9:00 - 2:00&nbsp; &nbsp; Work Session + Desk Crits AO + CD W / Sep 25 9:00&nbsp; &nbsp;Input Laboratorio de Circularidad with Adriana Rivas 11:00&nbsp; &nbsp;Work Session + Desk Crits NQ Th / Sep 26 10:00 - 12:00&nbsp; &nbsp; Official Desk Crits (3 projects) 17:00 - 20:00 &nbsp; &nbsp; Laboratorio Arquitectura Avanzada: Rhino + Grasshopper Workshop Fr / Sep 27 9:00&nbsp; &nbsp;Official Desk Crits (5 projects) WEEK 9.&nbsp; M / Sep 30 9:00&nbsp;&nbsp; &nbsp; Input Architecture of Schools with Gerardo Martinez&nbsp; &nbsp; Work Session + Desk Crits AO + CD &nbsp; &nbsp; 3D Printing workshop Tu / Oct 1 ASUETO W / Oct 2 9:00 &nbsp; &nbsp;Input Digital Circularity and Computational Reuse with Keith Lee &nbsp; &nbsp;Desk Crits AF + CD Th / Oct 3 9:00&nbsp; &nbsp;Desk Crits DC + LM + YT Fr / Oct 4 9:00&nbsp; &nbsp;PROJECT MID-REVIEW WEEK 10. M / Oct 7 9:00&nbsp; &nbsp;Desk Crits 10:00&nbsp; &nbsp;Zoom: Input Laboratorio de Biomateriales Anabel Barreda&nbsp; &nbsp;Feria de Proyectos Arquitectura Avanzada with campus Puebla - be prepared to present your project progress, your next steps and open questions. Tu / Oct 8 9:00&nbsp; &nbsp; Guest Desk Crits CC + KR&nbsp; &nbsp; Work Session + Desk Crits AO + CD&nbsp; &nbsp; Laboratorio de Alta Tecnologia W / Oct 9 9:00&nbsp; &nbsp; AfterEffects Workshop Th / Oct 10 9:00 - 1:00&nbsp; &nbsp;Official Desk Crits AF + LM + CD 10:00&nbsp; &nbsp;Input: Unlearning and (un)studio with Antoine, Gianna, Kyra &amp; Noémie of EPFL 1:00&nbsp; &nbsp;Cricut Demo + Rhino Clipping Plane Demo Fr / Oct 11 9:00&nbsp; &nbsp;Official Desk Crits WEEK 11.&nbsp; M / Oct 14 9:00 &nbsp;&nbsp; Desk Crits AO Tu / Oct 15 9:00 &nbsp; Desk Crits CD W / Oct 16 9:00 &nbsp; &nbsp;Desk Crits NQ Th / Oct 17 9:00&nbsp; &nbsp;Desk Crits AF + LM + CD Fr / Oct 18 9:00&nbsp; &nbsp;CRIT DAY WEEK 12. M / Oct 21 9:00 &nbsp; Desk Crits AO + CD Tu / Oct 22 9:00&nbsp; &nbsp; Festival de Reparación + Club de Reparadores! W / Oct 23 9:00 &nbsp; &nbsp;Desk Crits NQ&nbsp; Th / Oct 24 9:00&nbsp; &nbsp;Desk Crits AF + LM + CD Fr / Oct 25 9:00 &nbsp; &nbsp;Desk Crits LH + DC + CD FUTURE NOWModule 3&nbsp;[Translations] WEEK 13. on learning reduxPaulo Freire. Chapter 2 of Pedagogy of the Oppressed. 1970.Ivan Illich. Deschooling Society. Chapter 6: Learning Webs. 1970.bell books. Teaching to Transgress. Chapter 1: Engaged Pedagogy, and Chapter 12: Confronting Class in the Classroom. 1994.Neil Postman and Charles Weingartner. What’s Worth Knowing. 1969.Silvia Federici. Re-enchanting the World. The University: A Knowledge Common? 2019. Lisa Parks. Media Fixes: Thoughts on Repair Cultures. 2013.La Historia Jamás Contada. 08 / Educación para el buen vivir. 2022. M / Oct 28 9:00 &nbsp; &nbsp;PROJECT FINAL REVIEW Tu / Oct 29 9:00&nbsp; &nbsp; FIELD TRIP TO CAETEC for warm-up activities for Future Artifact/Enactment W / Oct 30 9:00&nbsp; &nbsp; Input: Enactments in Art&nbsp; &nbsp; Future Artifact/Enactment Development Activities Th / Oct 31 9:00&nbsp; &nbsp; Input: Experiential Futures + Initial Idea Pin-up with Isra Viadest 11:00&nbsp; &nbsp; Input: Alternative Pedagogies and Learning Dynamics&nbsp; &nbsp; &nbsp;Future Artifact/Enactment Development Activities Fr / Nov 1 9:00&nbsp; &nbsp; MEET AT CENTRO CULTURAL LA VIA (location) &nbsp; &nbsp; Input: Workshop on Choreography with Alejandro Chavez of CIUDAD INTERIOR11:00 &nbsp; &nbsp;&nbsp; Future Artifact/Enactment Development Activities (location) WEEK 14. M / Nov 4 9:00 &nbsp; &nbsp;Future Artifact/Enactment Work Tu / Nov 5 9:00 &nbsp; &nbsp;Future Artifact/Enactment Work W / Nov 6 9:00 &nbsp; &nbsp;Future Artifact/Enactment Work Th / Nov 7 9:00&nbsp; &nbsp;FUTURE ENACTMENTS DAY 1 Fr / Nov 8 9:00 &nbsp; &nbsp;FUTURE ENACTMENTS DAY 2 WEEK 15.&nbsp; M / Nov 11 9:00 &nbsp; &nbsp;Intro+Agenda for next two weeks&nbsp; &nbsp;Intensive Project Development Work to completion&nbsp; &nbsp;Mandatory Desk Crits Tu / Nov 12 Completed Project DUE before Weds class begins 9:00 &nbsp; &nbsp;Intensive Project Development Work to completion&nbsp; &nbsp;Mandatory Desk Crits W / Nov 13 9:00 &nbsp; &nbsp;Intro to Book + Expo&nbsp; &nbsp;Template Presentation&nbsp; &nbsp; Exporting and Printing workshop for Activity 3 zines &nbsp; &nbsp; Layout and Print Activity 5&nbsp; &nbsp; Desk Crits Activity 6+7 Booklet Th / Nov 14 9:00 &nbsp; &nbsp;Print Course Description handouts&nbsp; &nbsp;Print Activity 2 zines&nbsp; &nbsp;Print and Fold Activity 4 zines&nbsp; &nbsp;Desk Crits Activity 6+7 Booklet Fr / Nov 15 9:00 &nbsp; &nbsp;Desk Crits Activity 6+7 Booklet &nbsp; VISIT CENTRO DE ARTE EMERGENTE &nbsp; &nbsp;Collective Exhibition Design Session WEEK 16. M / Nov 18 Completed Book PDF DUE before Tues class begins ASUETO Tu / Nov 19 Completed Printed Book DUE before Weds class begins 9:00&nbsp; &nbsp;Collective Exhibition Design + Fabrication &nbsp; &nbsp;Finish and Print Activity 6+7 Booklet W / Nov 20 9:00 &nbsp; &nbsp;Gallery-style Book Review&nbsp; &nbsp;Exhibition Installation @ CENTRO DE ARTE EMERGENTE &nbsp; &nbsp;Exhibition Fabrication Th / Nov 21 9:00 &nbsp; &nbsp; Exhibition Installation @ CENTRO DE ARTE EMERGENTE &nbsp; &nbsp; Exhibition Fabrication Fr / Nov 22 9:00 &nbsp; &nbsp;FINAL PRESENTATIONS @ CENTRO DE ARTE EMERGENTE WEEK 17.&nbsp; TRAVEL WEEK + WORKSHOP WEEK https://aavanzadaqro.cargo.site/Activities Wed, 20 Jul 2022 18:47:11 +0000 Arquitectura Avanzada - QRO AD2024 https://aavanzadaqro.cargo.site/Activities ︎ Z - Digital Carrier Bag ︎ 1 - On Learning /&nbsp;Reflection ︎ 2 - Co-Learning / Collective Build ︎ 3 - Re-Learning / Case Studies︎ 4 - On Learning / Motley Workshop Week ︎ 5 - Un-Learning / Manifesto&nbsp; &nbsp; &nbsp; &nbsp; ︎ Visit to SMA! &nbsp; &nbsp; &nbsp; &nbsp; ︎ Site(s)&nbsp;Exercise: Architectural Ethnography ︎ 6 - PROJECT part a / School of _______︎ 7 - PROJECT part b / Future Artifact + Enactment︎ 8 - PROJECT part c / Book + Expo https://aavanzadaqro.cargo.site/z-digital-carrier-bag Sat, 30 Jul 2022 17:23:53 +0000 Arquitectura Avanzada - QRO AD2024 https://aavanzadaqro.cargo.site/z-digital-carrier-bag Assignment Z: CARRIER BAG SPACE Due Weekly until December 1, 2024 A container or a bag is “a thing that holds something else... a medicine bundle, holding things in a particular, powerful relation to one another and to us.” (Ursula Le Guin) In Carrier Bag Theory of Fiction, Ursula Le Guin writes that the first human tool was the basket as opposed to the spear, which makes the first protagonist a gatherer rather than a hunter. Not only does this shift the idea of the hero from a singular masculine he to a plural collective we, but it also means that “before the tool that forces energy outward, we made the tool that brings energy home.” The basket, the carrier bag, was used to gather goods to be transported and shared with kin. Gatherer, designer, and media scholar Mindy Seu writes that “gathering is not a masculine, techno-utopian process of disruption or of moving fast and breaking things, but the methodical, deep labor that comes from looking around, rather than looking ahead, from gathering rather than hunting.” Throughout this semester, we will be gathering many concepts, theories, places, activities, tools, and ideas. We will use a form of humans’ first tool, the carrier bag, to hold and share thoughts. To collect your reflections and inspirations, you will create your personal Are.na ‘channel’ as a digital carrier bag. Think of this as your personal reflection space where you can begin to collect, connect, and make sense of things throughout the course -- through your accumulating entries, you can trace your own personal growth, record your reactions, and store your ideas. This is also a place where Cynthia, Lucas, and other facilitators can check in and sustain conversations through Are.na comments and discussion. How to set-up your Are.na: Go to the URL: are.na Create a personal Are.na account if you do not already have one. Create a new ‘channel’ and name it “[your name]’s Carrier Bag” For privacy level, choose either Open or Closed. Open means all Are.na users can view the channel and add to it, which can be great for crowd-sourcing ideas. Closed means all Are.na users can view the channel but only you and collaborators can add to it. Add Cynthia Deng as collaborator to your channel, or ‘connect’ your channel to the class group channel yourself. You can add as many inputs to your channel as you’d like, as long as there are at least two each week. one input must show progress on your material recollection explorations and research&nbsp;other input(s) are open-ended: this can be a short written reflection, a quote from the reading that stood out to you, an image that the week’s discussions brought up for you, a recording, a transcript of a recording, a website that you’re thinking about, a video that you were inspired by, a connection to someone else’s channel or block that you found relevant, or really anything that helps you digest the content from classes that week. Some weeks we may request a specific format for channel input (aka written reflection, etc). DELIVERABLEAt least two weekly inputs into your Are.na channel. REFERENCESUrsula Le Guin, “Carrier Bag Theory of Fiction” (1986). Mindy Seu,“On Gathering” (2019). Mindy Seu’s Are.na On&nbsp;Commonplace books&nbsp; https://aavanzadaqro.cargo.site/1-reflection Sun, 04 Aug 2024 02:10:35 +0000 Arquitectura Avanzada - QRO AD2024 https://aavanzadaqro.cargo.site/1-reflection Assignment 1: REFLECTIONS ON LEARNING Notecard due on Wednesday August 7, 2024 (to be completed in class) Due on August 11, 2024 “Repair occupies and constitutes an aftermath growing at the margins, breakpoints, and interstices of complex sociotechnical systems as they creak, flex, and bend their way through time. It fills in the moment of hope and fear in which bridges from old worlds to new worlds are built…” (Steven Jackson) “Maintenance at any particular site, or on any particular body or object, requires the maintenance of an entire ecology: attending to supply chains, instruments, protocols, social infrastructures, and environmental conditions.” (Shannon Mattern) From your reading responses, our class inputs and discussions so far, create an initial personal reflection using at least one set of prompts below. Please include one “page” with a written/verbal reflection (could be prose, poetry, dialogue, etc), and one “page” with a drawn/visual/sensorial reflection (could be a sketch, collage, mixed media, soundscape, art, etc). Somewhere in the submissions, please cite at least three references that inspired or provoked you - it can include the references from class or from your initial Are.na response. Have fun with this! Each individual submits independently. Sets of Prompts: What does ‘repair’ mean to you?What needs repair? How can this be brought into processes of architecture learning?Think about how and what you learn in architecture school as it is right now.&nbsp;What is something you think you would maintain, for schools in 2050?&nbsp;What is something that you would change or repair, for schools in 2050?What are skills/abilities/subjects/values that architects are learning in 2024?What are skills/abilities/subjects/values that architects should be learning in 2050?What are skills/abilities/subjects/values that architects should be unlearning or rejecting in 2050?What is one class or subject that you would add? What is one department that you would add?What is one institutional change that you would make?What is a studio method or format change that you would make? DELIVERABLE Physical:&nbsp; Double-sided hole-punched notecard. This will be provided in class on Wednesday and we will complete this portion in class. Digital:&nbsp; Open format media - feel free to experiment. Two “pages” or the equivalent. Submit to Canvas AND Upload to your Are.na. REFERENCESPedagogy references Are.na.&nbsp; Shannon Mattern. ReDesigning the Academy assignments.&nbsp; Various authors. koozArch Issue #03 New Rules for School.&nbsp; https://aavanzadaqro.cargo.site/2-collective-build Sat, 10 Aug 2024 00:19:57 +0000 Arquitectura Avanzada - QRO AD2024 https://aavanzadaqro.cargo.site/2-collective-build Assignment 2: COLLECTIVE BUILD WORKSHOP: Stuffing the School Project A due August 12Project B due August 15Project C documentation due August 25 OBJECTIVES To develop a position on the future of spatial practices learning through the process of designing with found objectsTo prototype tools and structures that will enable creative modes of knowledge acquisition in the future What is the civic responsibility and significance of the architect? As the architectural discipline grapples with its role in resource depletion, carbon emission, and waste generation, how do architects reassert their value while taking responsibility for the environmental and social impacts of their craft? Architecture students are accustomed to certain spaces of learning: studios, fabrication labs, computer labs, seminar spaces, and more.Though the spaces themselves impact our experience, the “stuff*” that fills these spaces has a significant effect on how we participate in our educational environments. The desks, chairs, and drawing tables in our studios; the pin-up boards and meeting tables that punctuate our seminar spaces; the tools, workbenches, and storage cabinets in our fabrication labs—they all dictate how and what we learn. How can we project toward a better future without first calling into question the stuff—tools, furniture, arrangements—that hold up the status quo? How could the spaces in which we learn, and the stuff that fills them, shift how we operate as spatial practitioners for a more resilient future? Throughout this two-week collective build workshop, we will consider the typical stuff that fills the spaces of architectural learning and reflect on the modes of practice they enable. We will redesign the “stuff” of architecture schools using found objects. These objects carry with them a rich backstory tied to their initial production and function. When viewed with a surrealist lens, they will bring an unexpected “wild card” to our imaginative and radical ideas about the future of our profession. Our newly-constructed stuff will translate into imaginative stances on the future direction of architectural learning and practice. Through reorienting our expectations and understandings of architecture as a discipline and as an educational discourse, we will “stuff the school” with odd skills, new forms of collaboration, and unexpected cross-disciplinary pollination. *Stewart Brand, in his book How Buildings Change, uses the term “stuff” to refer to anything in a building that isn’t fixed and changes out monthly or yearly. Project A: HOW TO MAKE AN OBJECTILE&nbsp; Objects can be thought of as having lives. They are “born” when they are created, undergo different “events” in their usage, and “die” when they are disposed of. Anthropomorphizing these objects and vividly recounting their “biographies” enhances our understanding of the interactions between objects and people, revealing more about their broader cultural significance. The problem is that, with the efficient industrial manufacturing of objects and mindless disposal practices, most objects are currently perceived as being single-use. When we don’t like or need them anymore, they go into the landfill. Design can create new futures for objects that would otherwise die. By altering an object to give it a new use, designers have the power to give them new meaning and new life, saving them from the landfill. In this exercise, we will collectively design multiple lives for each of the objects you brought in. We challenge you to retain some traces of its past life even as you alter it for its next life, so that it is perceptible to anyone who encounters it that this is a reincarnation; this is a special object that has traveled through time and defied death. We will call these objectiles, or object-projectiles: objects that are on an adventure across time and space to collect multiple uses and lives. Suggestions for what types of objects to bring in: You should be able to carry itIt should be made of a material we can safely cut/drill/etc into in the shop (like wood or plastic). That being said, don’t bring in anything you don’t feel comfortable with altering.It can have a function, or it can be function-less.Most importantly, it should have a personality. Activity, before the first round: Establish the existing life of the object. What are the formal, material, textural, cultural, or aesthetic qualities that establish the purpose of the object that you have found? How much of that meaning is part of the physical nature of that object, and how much has been ascribed by society, tradition, and habit? Activity x three rounds: Each object will undergo three rounds of alterations. As in a game of “exquisite corpse”, you will pass your altered object to the next person at the end of each round, for it to be altered again and gain its next life. Using methods of alteration, assembly, and construction, change the function or disposition of your object. Does it stand still now? Make it wobble. Is it purposefully slick? Find a way to make it grippy. What are the operations that can alter the function and meaning of this object, while still retaining traces of its past life? Can you create a sense of humor, irony, or absurdity between the past use and the future use? Possible methods of assembly/alteration: Cut intoRemove segmentsSand downDrill holesChisel intoFasten to another objectCreate a new structureAdd legsGive a new base/orientation Activity after each round: Photograph the objectile. What do you call this objectile? What is the new use of your objectile? Perform it. How easy is it to still read traces of this objectile’s past? Project B: SCENES FROM A FUTURE SCHOOL <img width="2500" height="1810" width_o="2500" height_o="1810" data-src="https://freight.cargo.site/t/original/i/4d22b351cb9d6d06409b64f41aebfc658a37edf795eee0e7829ba45a8399e03d/Richard-McGuire_Here.gif" data-mid="216115653" border="0" src="https://freight.cargo.site/w/1000/i/4d22b351cb9d6d06409b64f41aebfc658a37edf795eee0e7829ba45a8399e03d/Richard-McGuire_Here.gif" /> Richard McGuire, Here What skills and learning objectives do we take for granted in our current schooling systems? How can we insert experimental ideas into the techniques and methods we learn in architecture school? While Project A focused on physical experimentation at a one-to-one scale, many of the tools of the architect are representational, such as renderings, drawings, collages, and models. Image-making is a way of projecting a future that we desire. In Project B, you will be crafting a gif, made out of a sequence of still images, that will set the scene for the future of architectural education. We will start by collectively brainstorming a list of skills that we believe future schools should teach and value. The skills can be open-ended, pulled from other disciplines, or represent central tenets in design education. We will document our stock of found objects and learn how to photograph, scan, model, trace and otherwise “get to know” them. With this bank of future skills and found objects to draw from, each of you will combine them into SKILL X OBJECT equations of your choosing to set your scenes. Consider the types of scenes these combinations might produce, how the objects may play a role in enabling future skill sets, and what modes of learning might result. Example of SKILL X OBJECT equations: Image 1: to use biomaterials&nbsp; X&nbsp; triangular steel frameImage 2: to learn restoration techniques&nbsp; X&nbsp; (plastic L-shaped bracket thing with notches + plastic PVC pipe with holes)Image 3: (to collect + to promote changes in harmful laws)&nbsp; X&nbsp; purple surface with legsImage 4: to deconstruct&nbsp; X&nbsp; (purple surface with legs + planks of wood)&nbsp; . It’s important that the images relate to each other throughout the gif. They can be 4 totally different scenes as long as each image in sequence shares some connecting thread by showcasing the same object, skill, or context from one image to the next. You can also chose to focus on 1 skill combined with multiple objects / contexts / moments in time. To begin the construction of your scenes, bring your object into photoshop and remove the background. Digitally in Photoshop, start layering in entourage, characters, alternative backgrounds, and other found objects to best illustrate your equations. In addition to the objects we have on hand, you are encouraged to search the internet, publications, catalogs, archives, and 3D model websites for more objects and characters outside of the architectural discipline in order to “stuff” your scenes with new skills. You’ll use photoshop to build your collages, however, you can import drawings and sketches that you’ve photographed or scanned into your digital collage.&nbsp;We encourage you to incorporate at least one analog method into your digital collage.&nbsp;Produce at least 4, or as many scenes as you feel necessary to tell your story in your gif. Tutorials we will do in class: Photogrammetry and clean-up in photoshop3D scanning and clean-up of the digital model in RhinoHow to make a gif in photoshopEasy Rhino Rendering/Enscape to bring into a collage Deliverables Schedule: Before 9am Wednesday: Post to your Arena drafts of 4(+) scenes &amp; corresponding equationsWednesday morning, we’ll have a Progress Pin-Up Before 9am Thursday - Final Deliverables due: Export a looping gif made up of at least four images that tell the story of the future schoolPrint out 4 key frames on 8.5x11/carta/letter-sized paperAdditional homework: read Theory of the Quasi-Object. Project C: STUFFING THE SCHOOL Now that we have speculated on the skills that are important for future spatial practitioners to learn, and the types of physical spaces, objects, and tools that these new forms of learning require, we will collectively design and build the “stuff” that supports new forms of architectural education. As a class, we will collectively co-author a super-furniture that will serve as the site for developing the skills required to construct a better future. The skills for the future that we have been brainstorming and exploring over the last few days will guide the development of our designs. Together we’ll construct this large-scale “stuff” using found objects, salvaged materials, and additional materials when necessary. At the end of next week, we will share our construction with the campus, hosting an open event to demonstrate its uses and celebrate our collective work.&nbsp; As a class, we’ll collectively brainstorm the skills we want to build for.We’ll break into groups of 3 based on what future skills we are interested in. Each group will focus on 1 future skill. Each group will charrette ideas and bring 1 communal proposal to class on Friday morning. Friday, we will collectively work to design the 3 proposals into 1 piece of Super-Stuff. Guidelines for this first charette: Your super-furniture should be able to support 9 users at one time.The users don’t all need to be human! And they don’t all need to be using it in the same way.It should support the learning of your future skill of focusUse your imagination :-) It should look like a piece of furniture/structure we have not seen before.It should be buildable by our class in one week! Deliverables for Friday Aug 16 9am for each group: A name for your super-furniture and an explanation of what types of learning it supports and howDrawings, sketches, and/or diagram showing what your proposal looks like in axonometric view. Some idea of scale (show scale figures in your drawings) A list of physical characteristics of the materials you would need to construct it (Ex: soft, rigid, structural sticks, planar surface, interlockable) Optional: A Rhino model and supplementary drawings. Each group should consider: What activities and ways of learning does your super-furniture support? Do those activities require external elements?Is it designed for individual activity, collaboration, or a combination of both?Does it need to have proximities in order to be functional? (Ex: It needs to fit in a doorway, it needs to face a South-facing wall, etc)Is it designed to change over time, or even seasonally? Is there a certain time of day when it’s activated? Night, morning, when the light is at a certain angle?Is it meant to be mobile or deployable, as in, intended to be brought out of the classroom and into other sites?Does it fulfill one use at one time or is it multipurpose?Is it designed so that it is accessible to all bodies?Does it have attachments or components that alter its use?How is it challenging or re-directing the ways in which we learn?What skills, and relating infrastructure, does it bring in from other disciplines?If it is sited outdoors, does it incorporate protection from the elements? Does it have a clear use or is it more open-ended? Both directions are valuable. Parts of it can have a prescribed use, and parts can be open to interpretation. Summary of schedule: Thursday: Introduce Project C and begin design charetteFriday: Continue design charette, pick a design, and make a building plan (a clear list of goals/schedule)Monday: Gather materials (both found objects and new materials), start building, de-construction if neededTuesday: BuildWednesday: BuildThursday: Last day of buildingFriday: Final touches, documentation, and celebration! 🥳 FINAL SUBMISSION due midnight August 25STUDENT PHOTOS FOLDER LINK Please upload your photos from the two weeks of the workshop here: https://drive.google.com/drive/folders/1kUzbDLzVQ8ir23MT0rErht1FBt5tkkr-?usp=sharing DELIVERABLES As this was a collective project, everyone in the class will contribute to its documentation. Each of you will be responsible for one of the following pieces of documentation. In the spirit of collectivity and co-authorship, we’ll all share our files with each other. Please submit both on Canvas and on Arena. (2 person team) As-built drawing set of the table includingPlan cutting through the bins (~60cm above the ground)Elevation(s)Section“Roof plan” showing the view of the table from above(1 person) GIF of illustrative drawings (can be line drawing, collage, digitally modeled, etc) of all the different uses of the table in top view (“roof plan”)(1 person) GIF of illustrative drawings (can be line drawing, collage, digitally modeled, etc) of all the different uses of the table (especially storage) in section view(1 person) GIF of axonometric assembly and disassembly drawings - how the table is taken apart and put back together again(1 person) Material stories: an illustrative site plan showing where all the objects came from on campus and off (Home Depot, that pile of theater trash, etc) and the path they took to become part of the table(1 person) Skills for the Future Illustrations: Mini-story posters of how “Collaborating” and “Unbuilding” skills could be applied as future architects(2 person team) Material stories: character “identity cards” or “baseball cards” for each of the six found materials (stair, purple bin, pvc tubes, metal triangles, podium). On the front, show its past life as an object. On the back, show its new life as part of the table. SHARED RHINO FILE FOR REFERENCE DOCUMENTATION INSPIRATION &amp; REFERENCES (please check this out!)&nbsp; REFERENCESLionel Devlieger. Waste not: Rotor and the practice of deconstruction.bureau SLA. Material Biographies: An Emotive Exploration of Material’s Identity. 2023.Cas Holman. Radical Play. 2023.Alice Paris. Technology, Extinction, and the Decorator Crab. 2022.Ana Miljacki. Not-Habits. 2020.Michel Serres. Theory of the Quasi-Object. 1982. bell hooks. Black Vernacular: Architecture as Cultural Practice. 1995.&nbsp;Ann Lui. Office of the Public Architect. 2020.&nbsp;Sumayya Vally. Letter to a young architect. 2020.bell hooks. Introduction in Teaching to Transgress: Education as the Practice of Freedom. 1994. https://aavanzadaqro.cargo.site/3-case-studies Mon, 26 Aug 2024 14:12:51 +0000 Arquitectura Avanzada - QRO AD2024 https://aavanzadaqro.cargo.site/3-case-studies Assignment 3: CASE STUDIES Final Pin-up August 30, 2024 Due on September 1, 2024 “The interplay between its spatial arrangement and pedagogical strategy embeds the school with a specific kind of habitus, which influences the kind of character students take on in future practice.” (Farshid Moussavi) [Describing a photo of teacher Giancarlo De Carlo debating with a student, surrounded by other protesting students in the street] “The circle of students has become a classroom - a portable, improvised space in which the real teacher is now the streets. The line between urban life and education has dissolved. Protest has become pedagogy.” (Beatriz Colomina, Ignacio Galán, Evangelos Kotioris, Anna-Maria Meister) To learn about spaces of collective spatial learning, we will closely study various existing or historical ‘schools’ for the relationships between their spatial arrangements, their pedagogies, and their institutional structures. What and how do people learn there? What can we learn from how others learn? As you draw and analyze your case studies, consider your own postures and reflections on architecture schools so far. Are there spatial strategies or approaches that you would critique or take up? For each case study, please do the following: Collect information. Write a short ficha + description that includes:years of existencelocation(s)mission/valuesfounder(s), designer(s), notable actorsprograms offered‘type’ as you might categorize it (“school without walls”, “open plan school”, etc.)what (skills, abilities, subjects, values) do students learn here?Collect key images.Choose 3 that best show what you want to show about this school.Using found and created drawings, create a set of analytical diagrams as follows:Diagrams using Plans, at least one Section:Diagram distribution of activities: ex. spaces of production, spaces of review/sharing, other spaces of learning. Diagram distribution of departments/disciplines/programs Diagrams at the scale of Site Plan / Campus Plan / City: Diagram relationships to urban/phyical contextDiagram relationships to cultural/historical context (this might be more like a timeline and doesnt need to be at any particular scale)Diagrams at the scale of the Room / Stuff / Body:Diagram the choreography of at least one spatial arrangement for learning, including relationships between actorsDiagrams without scaleDiagram institutional structure / relationship to formal institutionDiagram curriculumDiagram learning rhythms over time Diagram the design pedagogy of the school Where would you place this school along these keyword spectrum, and why? In Wednesday’s class we will begin a collective mapping that includes everyone’s chosen case studies.1 - fixed/moving - 101 - centralized/decentralized - 101 - established/new - 101 - traditional/experimental&nbsp; - 101 - isolated/integrated with local context - 10What other keywords would you add? Other dimensions to map:Longitude/Geography/RegionScale/EnrollmentDuration Accessibility/Cost Each student will complete two case studies. Please choose one case study from Bin 1 (Built, Formal Institutions) and another case study from Bin 2 (Built, Not Formal; or Unbuilt). If you have trouble finding information about your case study please ask - we have compiled plenty of information about many of these. Bin 1&nbsp; (Built, Formal Institutions) Faculty of Architecture and Urbanism, University of São Paulo (FAU-USP) VANENantes School of Architecture LUISKanagawa Institute of Technology Workshop CHRISTIANHarvard GSD / Gund HallYale YSOA / Rudolph Hall DIEGOCornell / Milstein Hall ABRAHAMEscuela de Arquitectura Universidad de Talca EMAEscuela Libre de Arquitectura Tijuana&nbsp; JACQUI Haystack Mountain School of Crafts LAUSchool of Architecture UNAMTaliesin / The School of ArchitectureBauhaus Dessau o WeimarUniversidad del Medio AmbienteETSAB - Barcelona ALE Facultad de Arquitectura Universidad de Oporto TU Delft (old and new) Bin 2 (Built, Not Formal; or Unbuilt) Floating University LAURAAssembly House 150 LUIS Ciudad Abierta (Ritoque), Valparaíso School ABRAHAMSweet Water Foundation CommuniversityWorlds End SchoolBard College Architecture JACQUIDark Matter University DIEGOSwamp SchoolFirst Aid Spatial Kit, KharkivStreet Lab Pop-up Stations ALEClimavore: On Tidal ZonesPotteries ThinkbeltLoudreaders Trade School African Futures Institute EMA Black Mountain CollegeDevenir Universidad&nbsp;School for Poetic ComputationCOOPIAHUNAM Heterotópica Universidad de Nodos Autónomos MóvilesField Meridians Nature SchoolL’Academie du ClimatThe School of Feral GroundsLabvaThe After SchoolThe School of Impatiences / Le peuple qui manqueABC Architecture Beyond Capitalism School VANEIndex SpaceSESC Pompeiia CHRISTIANAnything from this channel: https://www.are.na/shannon-mattern/para-extra-institutional-schoolsDELIVERABLEEach individual submits independently. Please use provided InDesign template. For Pin-up: Print each spread out on letter size paper.For Digital Submission: PDF from template as individual pages (not spreads), and upload zipped packaged file to https://drive.google.com/drive/folders/1l4qmzsUh0w8H6vj4g-OIrqyLyl8h-dj7?usp=sharing. Please upload PDF both to Canvas and to Arena. REFERENCES Rainer K. Wick. Three Preliminary Courses: Itten, Moholy-Nagy, Albers.Regina Bittner. Towards a Tangible Pedagogy.Beatriz Colomina, Ignacio Galán, Evangelos Kotisioris, Anna-Maria Meister. Introduction to Radical Pedagogies. Spanish alt summary here. Ask Cynthia for the book.Bryony Roberts and Abriannah Aiken. map of “Feminist Spatial Practices, Part 1”.Comunal et al. Pedagogías Comunas para una Producción Colectiva del Hábitat. 2023. https://aavanzadaqro.cargo.site/4-motley-workshop-week Mon, 02 Sep 2024 00:02:58 +0000 Arquitectura Avanzada - QRO AD2024 https://aavanzadaqro.cargo.site/4-motley-workshop-week Assignment 4: MOTLEY WORKSHOP WEEK Due on September 9, 2024 before beginning of class “Ch’ixi amounts to the ‘motley’... and expresses the parallel coexistence of multiple cultural differences that do not extinguish but instead antagonize and complement each other… in a contentious way.” (Silvia Rivera Cusicanqui) How might we cultivate “educational webs which heighten the opportunity for each one to transform each moment of [their] living into one of learning, sharing, and caring”? (Ivan Illich) “Architecture education needs to challenge itself through taking risks and borrowing actively from all other disciplines - and not just the noble and neighboring ones, but from those of the most pragmatic, modest, radical, political and hands-on spatial practices - from biology to care work in the built environment… In so doing, we may witness a welcome dilution of the understanding of what is contemporary architectural culture, of what is an architect, and of what are its tasks as we move toward another material future.” (Charlotte Malterre-Barthes) “June Jordan mobilized Black and Puerto Rican students to generate knowledge rather than receive it, drawing on their lived experiences in the Harlem community to counter the race, class, and gender power structures embodied and sustained by the university.” (Colomina et al, Radical Pedagogies) This week is going to be a firehose of workshops and inputs and ideas for your future spaces of collective learning. We will be moving out of our campus classroom and exploring around the city together - think of this week as an itinerant school (one type of school you are welcome to explore moving forward): wherever we hold our dialogues and wherever we learn together is where our ‘school’ is. Let this week start to clarify the positions and directions of your future school. Pay special attention to the sites we visit; might this be a site or one of a constellation of sites that you would choose? Pay attention to the invited speakers and workshoppers; might they or their organization be someone you would want to work with to co-speculate your future school? Pay attention to the future skills, subjects, and spatial literacies that you can identify and draw out from each input; which future skills would you want centered in your space of collective learning?&nbsp; This week you will keep a mini folded booklet with you where you will record findings, aha moments, reflection, and ideas from each input, in the form of words/mental maps/sketches/taped-in artifacts. Think of it as your personal ‘mapping’ of week 5. For each separate input: Use the corresponding page of the provided booklet.The page should be started while on-site / during the input. You are welcome to return to it afterwards.Please include (a) at least one personal reflection/takeaway and/or one question that arose for you and/or one quote from the input, and (b) at least one future skill from each input.The way you document is up to you: you can write-out notes, you can sketch, you can make mental maps, you can tape in small artifacts and annotate them, etc. At the end of the week, make the ‘cover page’ of the booklet. You could title it “Notes for a [you-fill-in-the-blank] school”Consider these questions for reflection:What questions arose for me?What did I learn? How did I learn what I learned? Is this learning something that I think future spatial practitioners should learn in school?Which inputs were the most moving to me? Why? What is it moving me to do or think differently?Which site(s) might I want to work with for my project?Which organization(s) might I want to work with for my project? Which future skills might I want centered in a&nbsp; space of collective learning? DELIVERABLE Digital. Scan both sides of the booklet at 300 dpi, save as .pdf AND as .tiff. On Canvas AND Arena, please submit both .pdf and .tiff. If the file size is too large for Arena, please email it or wetransfer it to Cynthia.Physical. Submit the original physical copy on Monday September 9 at the beginning of class. REFERENCES Paulo Freire. Chapter 2 of Pedagogy of the Oppressed. 1970.Ivan Illich. Deschooling Society. Chapter 6: Learning Webs. 1970.bell books. Teaching to Transgress. Chapter 1: Engaged Pedagogy, and Chapter 12: Confronting Class in the Classroom. 1994.Neil Postman and Charles Weingartner. What’s Worth Knowing. 1969.Silvia Federici. Re-enchanting the World. The University: A Knowledge Common? 2019.&nbsp; Lisa Parks. Media Fixes: Thoughts on Repair Cultures 2013. https://aavanzadaqro.cargo.site/5-manifesto Mon, 09 Sep 2024 03:09:43 +0000 Arquitectura Avanzada - QRO AD2024 https://aavanzadaqro.cargo.site/5-manifesto Assignment 5: MANIFESTO Final Pin-up on September 13Digital Submission on September 15 “The French poet Tristan Tzara wrote in his 1918 Dadaist manifesto,&nbsp; -– To launch a manifesto, you have to want: A, B, &amp; C, and fulminate against 1, 2, &amp; 3. – ” [1] &nbsp; Writing a Manifesto is choosing a stance, and while doing so delineating a clear border between one and other. Such a border is initially made by time, through our acknowledging of a particular present whose immediate consequences could lead to a moment of rupture in a not so far away future. A Manifesto then is an opportunity to fracture a timeline with hope, seeking a desirable foreseeable future through actionable ideas. This week, Collage will become the tool through which we will navigate the borders that delineate our Future Space of Collective Learning, parting from the notion that “collage is both an artistic method and a philosophical approach, involving piecing together fragments and diverse elements to form a unified whole.” [2] Carving through everyday graphic materials, we will explore our subjective experiences through image seeking, transforming their meaning by shaping a series of artworks into the appearance and meaning of our Future Space of Collective Learning. According to curator Yuval Etgar, collage can be seen as “a continuous process of challenging the borders” of creative expression, one that “comes into play in formal terms relating to scale, spatial orientation and material composition, but also in ideological terms where hierarchies – social or other – can be undermined or inverted, and margins are constantly pulled into the centre.”[3] Through your manifesto, you should identify what needs repair in schools; what repair means for you; and what that repair might look and feel like. (Remember all of the scales of repair we talked about in the first week: what it means to repair object and things, structures, infrastructures, ecologies, institutions, relationships, narratives…)identify the focus of your Future Space of Collective Learning. (School of _____??)identify the primary future skills of this Future Space of Collective Learningidentify your site(s) identify your community partner(s) [1] Richard Buday, How to Write an Architectural Manifesto, https://www.archdaily.com/921760/how-to-write-an-architectural-manifesto , ArchDaily, 2019. [2] Sally Barron, Lit Review on “Border Control: Testing the Limits of Collage” by Yuval Etgar, https://www.sallybarron.co.nz/blog/2024/6/18/lit-review-b [3] Yuval Etgar, “Border Control: Testing the Limits of Collage”,Vitamin C+ Collage in Contemporary Art, 2023 DAY 1: Cut-out Manifesto Seeds Using a variety of text material (ex. written material generated during the course, texts with which you have resonated, printed examples of manifestos, the notecards from the first day of class, etc.) plus the resulting text of today’s creative writing exercises, you will distill fragments into cut-out sentences and words to form a collaged text poem. This will become the seed of your manifesto. Deliverable: Analog Collage made up of texts. DAY 2: Artifact from the Future Following an overview of futures studies, design fiction, and speculative architecture, you will investigate and extrapolate signals from the present in order to invent a future. You’ll visit that future and bring back an artifact from it. Deliverable: A mid to high resolution artifact from the future. The artifact should be able to convey a story that reflects as much information from the future as possible. DAY 3: Collage Manifesto - Preamble, Reactions &amp; Principles Transform the textual seeds of the manifesto and ongoing research into one to three analog collages that, using the graphic material available in class, illustrate the following: what this future space of collective learning might look or feel likeembodiment/figure of a learner in this schoolembodiment/figure of a facilitator in this school&nbsp; DAY 4: Voiced Manifesto Analyze the seeds of your manifesto and the resulting collages. Write a text of a maximum of two pages seeking to verbalize what has been expressed through the collages and parallel research. The written Manifesto should include: Name of Future Space of Collective LearningContext + Future that the School is situated inMission (Focus)5(+) Principles (must be related to the Mission/Focus)include key future skills to be cultivated&nbsp;include site in relation to a principle include socio / partner in relation to a principle5. ANNEX Any initial research on this focus that you have already done so far.References, resources, books that are relevant that you will use for research this weekend. DAY 4: From Manifesto to Conceptual Diagrams Using as a foundation the graphic and textual material generated around the manifesto, ground at least 5 preliminary conceptual diagrams for your Future Space for Learning. If in the process of doing so, you realize that the written or visual manifestos need to be edited, do so. Quick hand drawn sketches preferred for now. Initial sketchy concept diagrams of (choose at least 5)Diagram distribution of activities: ex. spaces of production, spaces of sharing, other spaces of learning, etc. Diagram distribution of departments/disciplines/programsDiagram relationships to urban contextDiagram relationships to cultural/historical contextDiagram the choreography of at least one spatial arrangement for learning, including relationships between actorsDiagram institutional structure / Relationship to Formal InstitutionDiagram curriculumDiagram learning rhythms over time Diagram the design pedagogy of the future space of collective learning DAY 5: Manifesto Declarations See the below deliverables for the pin-up. DELIVERABLE For Pin-up: Textual Collage from Day 1: Cut-out Manifesto Seeds. Future Artifact from Day 2.Visual Collage(s) from Day 3: Manifesto space/learnersOne or two pages Written Manifesto from Day 4.Be prepared to read part of this out loud as a declaration!Five initial hand-sketched concept diagrams from Day 4.For Digital Submission: Canvas: Compiled Ensemble with all of the above content! (PDF)Canvas: Photo of everything pinned up together at pin-upArena: Day 3 Collage, Day 4 Written Manifesto, Day 4 diagrams, photo of pin-up REFERENCESDavid J. Staley. Alternative Universities: Speculative Design for Innovation in Higher Education. Introduction. 2019.The Care Collective. The Care Manifesto. 2020.Mierle Laderman Ukeles. Manifesto for Maintenance Art. 1969.Huey P Newton and Bobby Seales. The Black Panthers: Ten Point Program. 1966.Charlotte Malterre-Barthes. Moratorium manifesto. 2022. [based on “Stop Building? A moratorium on new construction”. (shorter) + (longer).]Various authors, Collection of Architectural Manifestos. Various political manifestos, manifestos.netUrsula K. Le Guin. “The Carrier Bag Theory of Fiction” 1986.Nicholas Nova &amp; Anaïs Bloch. Dr. Smartphones: an ethnography of mobile phone repair shops. 2020.Anthony Dunne &amp; Fiona Raby. Speculative Everything: Design, Fiction, and Social Dreaming. 2013. Richard Buday, How to Write an Architectural Manifesto, ArchDaily, 2019.Sally Barron, Lit Review on “Border Control: Testing the Limits of Collage” by Yuval EtgarYuval Etgar, “Border Control: Testing the Limits of Collage”, Vitamin C+ Collage in Contemporary Art, 2023 Urban Intermedia: City, Archive, Narrative