Teaching Portfolio_ Selected Work_Lydia Kallipoliti

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TEACHING PORTFOLIO SAMPLES

01

Bubbles and the Search for Public Space;

02

A Not So Whole Earth Catalog;

03

Microbial Block;

04

Slag Bank;

05

Contemporary Design Approaches

06

Closed Worlds;

07

History, Theory, Criticism II;

08 09

Rensselaer Polytechnic Institute (Fall 2017) Elective Design Studio, Undergraduate Level Vertical

Rensselaer Polytechnic Institute (Fall 2016) Elective Design Studio, Undergraduate Level Vertical

Syracuse University (Spring 2014) Mandatory Building Integrated Design Studio, Undergraduate Level 4th year

GSAPP Columbia University (Spring 2013) Elective Graduate Design Studio, Graduate Level March I

Rensselaer Polytechnic Institute (Spring 2015, 2016, 2018) Mandatory Theory Lecture Course, Undergraduate Level 3rd year

CASE, Center for Architecture, Science and Ecology (Fall 2016) Mandatory PhD Research Seminar, PhD Level

Rensselaer Polytechnic Institute (Fall 2015, Spring 2016) Mandatory Theory Seminar, Graduate Level

Modern Worlds: Rensselaer Polytechnic Institute (Fall 2015, Spring 2016, 2017) Mandatory History and Theory Lecture Course, Undegraduate Level

Environment Cloud Atlas; Syracuse University (Spring 2014, 2015) Mandatory Theory Seminar, Graduate Level

RENSSELAER POLYTECHNIC INSTITUTE | SCHOOL OF ARCHITECTURE | FALL 2017 | VERTICAL DESIGN STUDIO | PROFESSOR | LYDIA KALLIPOLITI | e: kallil@rpi.edu

BUBBLES AND THE SEARCH FOR PUBLIC SPACE

CRN 48080 ARCH4770.02 ARCHITECTURAL DESIGN STUDIO 5 CRN48669 ARCH4780 .02 ARCHITECTURAL DESIGN STUDIO 6 CRN48908 ARCH4790.02 ARCHITECTURAL DESIGN STUDIO 7

PROFESSOR: Lydia Kallipoliti November 19, 2016: Winter has suddenly arrived and outside it snows. I am inside though, airtight and connected to the world. I breathe my own exhalations, while reading the news of dismay over the US elections, and respire to make patterns on my superinsulated window. Just seeing the condensation dripping along the glass surface, assures me that I am unaffected from the piercing cold, as well as the political disarray in Washington. I see the city steadily freezing, yet my own sphere is warm, cozy and equipped with power and high speed wifi. My synched apps and devices deliver all plausible scenarios about my schedule, as data refreshes. Synching might be more useful for survival than food, in fact.

Looking behind the walls, where this synching happens, I recollect Reyner Banham’s words: my home is not a house. 1 It is a labyrinth of noisy heated ductwork; pipes and wires sustain my voluntary detachment

1 Reyner Banham (Illustrations by Francois Dallegret), “A Home is not a House”, Art in America, April 1965, Vol.53, p.70-79.

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RENSSELAER POLYTECHNIC INSTITUTE | SCHOOL OF ARCHITECTURE | FALL 2017 | VERTICAL DESIGN STUDIO | PROFESSOR | LYDIA KALLIPOLITI | e: kallil@rpi.edu

from the visceral, raw experience of urban wandering and forge my total immersion in electronic information trends. My atmosphere is fully recycled by heavyweight infrastructure that I cannot see, nor would I wish to see. If I could add plants in these pipes and soil rooted in my place, perhaps my hallucination of unaffectedness from climate change and fierce political ruptures around the world could be prolonged. Murmurations of water dripping through the foliage –Ikea’s homegrown garden programoffer some distraction from the ongoing newsfeed. Now, anyone can grow a garden inside; and my plan is to grow the vegetables and tomatoes, feeding them with my own shit. Inside my microcosm, my safe replica of an unsafe world, the living and the manufactured have been intertwined to secure a compound geochemical affinity between capital and excrement. The purpose of this supersystem, this “egosphere” as Peter Sloterdjik has called it, 2 is to nurture other complexities, me. Do I personify the contemporary human subject, which is almost never terrified by what is outside? This subject -me- is blissfully distant from all that matters, yet entirely immersed in a carefully curated replication, or reverberation of the world. Life cannot get any denser inside my anodyne bubble.

The following day, a version of my inconsequential anecdote, was featured in NBC’s Saturday Night Live show “The Bubble,” established in 2017. Buckminster Fuller and Soji Sadao’s famous “Dome under Manhattan in 1960,” has now resurged above Brooklyn to seal and shield progressive, environmentally-minded intellectual millennials. As NBC argued, in the Bubble, “life continues for progressive Americans as if the election never happened.” 3 And yet, The Bubble is as much a satire, as a new social reality of what is now called in news media an “echo-chamber:” a space of voluntary containment where you explicitly hear the reverberation of your own voice.

You receive only your own thoughts and witness the reconstruction of your customized version of the world. NBC’s sarcasm is strikingly real. The progressives contained in the Bubble are not only traumatized and disenfranchised while indorsing the lurking powers of the other America, but they are also in denial; they never saw this coming. “Our digital social existence has turned into a huge echo-chamber, where we mostly discuss similar views with like-minded peers and miserably fail to penetrate other social bubbles.” 4 The social bubbles that Facebook and Google has designed for us are shaping our reality. 5 The world in a bottle, is nothing new to architects. In fact, architecture’s role in the reconstruction of idealized microcosms, as curated earth replicas, is tied to the convoluted history of utopia. In the 1960s and 1970s, Fuller and Sadao’s “Dome Over Manhattan,” Haus-Rucker-Co’s “A Piece of Nature” (Ein Stuck Natur) and Reyner Banham’s “Environmental Bubble” are powerful and iconic illustrations of a period of intense environmental anxiety, precisely because they manifest, like jarred fossils, our lost idea of the untamed land. 6 They mark the end of nature as an unbounded 2

See Peter Sloterdijk, “Cell Block, Egospheres, Self‐Container,” Log 10 (Summer–Fall 2007), 89–108.

“The Bubble,” Season 42 2016, Saturday Night Live, NBC, http://www.nbc.com/saturday-night-live/video/thebubble/3428577. Accessed on November 22, 2016.

3

4

Mostafa El. Bermawy, “Your Filter Bubble is Destroying Democracy” in Wired, 11.18.2016, https://www.wired.com/2016/11/filter-bubble-destroying-democracy/. Accessed on November 20, 2016.

5

Ibid.

6

See Lydia Kallipoliti, “Endangered Pieces of Nature and the Architecture of Closed Worlds,” Volume, No. 46, (Amsterdam: Archis Publishers, 2015), pp.100-105.

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RENSSELAER POLYTECHNIC INSTITUTE | SCHOOL OF ARCHITECTURE | FALL 2017 | VERTICAL DESIGN STUDIO | PROFESSOR | LYDIA KALLIPOLITI | e: kallil@rpi.edu

field and the beginning of its reconstitution or re-engineering in pieces. What is different, nevertheless, in the 2017 Bubble is that the containment is not explicitly environmental; it is not a regulation of climate and air quality. Although the preservation of natural samples and botanical capital is part of the equation, the bubble ensures a total preservation of civic interactions, lifestyle, and urbanity in an imagined curated stage set extruded from reality. All animate and inanimate bodies, are coded by networks of exchange and subsumed into urban production.

Climate is directed, along with protocols of trade and civic interactions.

The Bubble might be committed to a deeply rooted fantasy of architecture naturalizing and reproducing sections of the world, yet it is fully integrated within the very fabric of reality. In a way, large chunks of cities are consisted of bubbles, or atmospheric enclosures that define collectives.

As Janette Kim and Eric Carver write of domes, bubbles are always internally rational, selfreferential, sites of becoming, processing input and output. 7 The resulting socialization of the ecological idea seeks to transform urbanism into constellations of controlled enclosures, as verbatim replicates of larger earth samples. This type of carefully constructed urban interiority, with climate, lifestyle, and spectacle being directed with the outmost care, is envisaged as inhabiting the world irrespective of geographic restrictions. According to Frederic Migayrou, we now see the world becoming a “continuous environment with no hope of exteriority,” characterized by an ever increasing hacking and mining of our desires for data. 8 If we look back, the experiment of the Bubble, is as much tied to the regulation of climate, as much to the regulation of lifestyle, spectacle and enhanced entertainment. In fact the reconstruction of certain environmental conditions is assumed to ensure heightened levels of leisure and amusement.

In celebrating this kind of extreme interiority, reinforced by the allure of environmental performance, we are spectators of a new urban experience: the network has given way to the cloud; and the bubble is the incidental byproduct of the cloud. The green bubble, albeit unwittingly, rises as a control mechanism that detaches us from civic engagement. The bubble also begs a simple question: what is the urban experience in this time of voluntary containment?

A new breed of physchogeographic drifters 9 are roaming in their customized itineraries as their phones instruct. In this new territory, where everything is hyper-connected, the subject becomes increasingly contained. Every echo becomes a world.

Our constant existence as connected, yet detached, allows us to affirm ourselves by augmenting our containment as something simultaneously interiorizing and exteriorizing. Yet, our new communal existence with public space cannot exclusively be based on mediation of data and the

7

Janette Kim and Erik Carver, The Underdome Guide to Energy Reform (New York: Princeton Architectural Press, 2015).

8

See Frederic Migayrou, “Extensions of the Oikos” in Marie-Ange Brayer & Beatrice Simonot (Eds), Archilab’s Earth Buildings. Radical Experiments in Earth Architecture (London: Thames & Hudson, 2003), pp.21-27.

9 I am paraphrasing here the notion of the derive as described by Guy Debord in his famous book Society of the Spectacle and previously referenced as a revolutionary strategy of “Situationism.” See Guy Debord, Society of the Spectacle (Paris: Buchet/Chastel, 1967).

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RENSSELAER POLYTECHNIC INSTITUTE | SCHOOL OF ARCHITECTURE | FALL 2017 | VERTICAL DESIGN STUDIO | PROFESSOR | LYDIA KALLIPOLITI | e: kallil@rpi.edu

comfort of plants. As citizens and creative thinkers, we need to think beyond the bubble. As a famous cinematographic line suggests, “Open your eyes” to the bubble inside which you are voluntarily contained. Then, develop an erotic, yet resistant relationship with your bubble. Then, it might be possible to penetrate the bubble and imagine other ways of being; even to imagine some real grounds of hope, beyond the market commodity of a digitally enhanced environmental euphoria.

PART 1| PUBLIC SPACE TOOLKIT - CATALOG | 4 weeks

Bubbles and the Search for Public Space | Vertical Design Studio | Fall 2017 | Kallipoliti

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RENSSELAER POLYTECHNIC INSTITUTE | SCHOOL OF ARCHITECTURE | FALL 2017 | VERTICAL DESIGN STUDIO | PROFESSOR | LYDIA KALLIPOLITI | e: kallil@rpi.edu Image: photo of the original The Whole Earth Catalogue from 1968 (http://www.spatialagency.net/database/whole.earth.catalog) modified with a diagram by Riverbed Design (https://riverbeddesign.com) from (https://visual.ly/community/infographic/politics/red-state-blue-state) that shows electoral votes by state for Republican and Democratic parties 1796 - 2008 The wheel shows the electoral votes for each state for all the political parties in proportion to the total electoral votes in each U.S. Presidential Election. The rings represent each election year. They also proportionally reflect the overall population growth of the United States from 1796 of 4.6 million (inner most ring) to 2008 of 303.2 million (outer most ring).

To start this semester’s inquiry, we will begin by researching The Whole Earth Catalog (WEC) published by the Portola Institute between 1968 and 1972. Stewart Brand’s vision was to create a catalog along the lines of an advertisement or a telephone catalog in an expansive, comprehensive and visually stimulating information database that people from different locations could plug into. The earth image had such an impact on Brand that he became part of a public campaign in 1966 urging NASA to release to the public photographs of the earth as viewed from spaceships. In this sense, the Whole Earth Catalog was the first publication aspiring to function as a whole earth system, while apple computer entrepreneur Steve Jobs categorized the Whole Earth Catalog as a conceptual forerunner of a web search engine. Considering the statement of purpose of the magazine, this claim is not far from the catalog’s original aims: The WHOLE EARTH CATALOG functions as an evaluation and access device. With it, the user should know better what is worth getting and where and how to do the getting. An item is listed in the CATALOG if it is deemed: 1) Useful as a tool, 2) Relevant to independent education, 3) High quality or low cost, 4) Easily available by mail.

In this phase, we will focus on producing a Catalog, as the revised version of the WEC for 2017, particularly for public space. What objects systems and environments form public space today?

How is citizenship defined independently of consumerist activities and how do people aggregate in public? What is public space today when people aggregate primarily in social media as the main platforms of encounter? What is the role of a collective space where physical bodies aggregate? And most importantly how can we use tools like density to construct public space?

The studio as a group will identify and work collectively on a Catalog –Toolkit for Public Space, divided in 10 chapters. Each team will select one of the following themes and identify 9 items, 3 objects, 3 systems and 3 spaces/environments of your assigned category for the Catalog. Each selected entry, you will need to redraw the findings and not simply use found images from the web or scanned drawings. Your drawings should be investigative, as a type of forensic analysis, visually analyzing information and spaces and displaying a compelling argument.

In preparing for this assignment, all items from each team should be registered on a collective atlas, a revised WEC. To start, you may begin by organizing a matrix with 3 objects, 3 systems and 3 spaces/ environments on the following themes: 1. ENERGY— How can energy patterns, or the generation of power redefine collective spaces? Are off-grid urban blocks like islands in the urban fabric based on their self-sufficiency? How can the production, distribution and use of energy and power impact pubic space?

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RENSSELAER POLYTECHNIC INSTITUTE | SCHOOL OF ARCHITECTURE | FALL 2017 | VERTICAL DESIGN STUDIO | PROFESSOR | LYDIA KALLIPOLITI | e: kallil@rpi.edu

2. DENSITY—How can urban density, vertical development and congestion urge the congregation of people in unexpected arrangements? What is the equivalent of a plaza in Hong-Kong? How can we rethink and enable patterns of vertical circulation and development and prompt the utilization of spaces on terraces and air space?

3. WATER—Fountains have had a seminal role in the evolution of public spaces. What kind of alternative uses of water can one encounter in developing a public space? Both as a source of visual delight, a space for play and a potable source of all life? Can water remediation and infrastructural settings usually hidden foster new types of public space? What about fogs and mists?

4. HEALTH—How can exercise in public and play become parts of engagement in public? How can a spatial interface, its morphology and operation, have positive physical impact to visitors? And how can this be monitored in calories and bodily functions?

5. AIR/ATMOSPHERES/ PLANTS— How are different atmospheres and constitutions of air quality affecting our mood and intensity as physical bodies in space? Is less oxygen making us less active? And if so, how can one regulate these immaterial elements in space?

6. THEATER/ VIEW-- What is the role of theaters of a street as designed in the Highline? Is view a valid architectural tool to collect people?

7. GAMES—Has Pokemon changed real estate? If people aggregate at a certain location to collect Pokemons, what is the impact of these games to the physical development of space?

8. TEMPERATURE—Can temperature regulate where people gather and control the circulation of bodies in public space? What are the tools available to help control and regulate weathers and microclimates?

9. SURVEILLANCE/ DATA COLLECTION/ DRONES-- What about surveillance, drones and information gathering when we are being watched and documented? Our physiognomy has become banal, by media as Snapchat?

Notes: Each entry should focus on particular urban devices related to the use of public space, and NOT generic ideas like hospitals and fountains. Find a specific location, example or device and analyze it very carefully projecting on its future capabilities. Your tooklit should be a series of meditations on topics that form your own perception of public space as architects. It should offers a fresh perspective on subjects and spaces that we generally taken for granted, and present new possibilities.

Groups: Students will work in groups of 2 to create a section of the studio’s Public Space Toolkit.

Product: Each team will prepare a section of the Public Space Toolkit and will work with the same format of the revised Whole Earth Catalog. Each team should focus on a particular theme and redraw selected tools objects, systems or environments- plus narratives for each entry. The drawings should be investigative rather than descriptions as a type of forensic analysis.

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RENSSELAER POLYTECHNIC INSTITUTE | SCHOOL OF ARCHITECTURE | FALL 2017 | VERTICAL DESIGN STUDIO | PROFESSOR | LYDIA KALLIPOLITI | e: kallil@rpi.edu

Deliverables: All work should be submitted in Tabloid size printouts (Every team is expected to present a minimum of 18 printouts, a suggested number would be 54.

Pinup Date: Monday October 2nd, 2-6pm, location TBD Schedule: The studio will meet regularly on Mondays and Thursdays throughout the semester. On occasion, the instructor will need to leave the studio at 5:15pm. Based on need, there will also be additional studio hours on Wednesdays between 2-5pm, TBD weekly.

PART 2| THE BUBBLE + PATTERNS OF LIFE AND ENERGY | 4 weeks

What would the Dome Over Manhattan look like in 2017 in an era when the contemporary human subject is entirely immersed in its “egosphere,” a self-sustaining and curated replication, or reverberation of the world? What is public space asides from consumerism or religion? How could we use architectural and infrastructural tools like density and energy patterns to redesign new types of public space? And most importantly, how can this reinvented information system help us understand the design process, not as the authored intended formal creation of a new reality, but rather as a collection of seemingly juxtaposing ideas, inventions and technologies?

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RENSSELAER POLYTECHNIC INSTITUTE | SCHOOL OF ARCHITECTURE | FALL 2017 | VERTICAL DESIGN STUDIO | PROFESSOR | LYDIA KALLIPOLITI | e: kallil@rpi.edu

The aim of the studio is to understand architecture as part of larger complex systems, be those cultural, social, ecological, economic or political; the studio will take the position that architecture is a leading instrument of social change, through rethinking the utopian architectural project in the complex contemporary concept of the information age and climate change. What role can architecture play in social and political change? What role should an architect take in determining the direction and character of change? How important is the design of space in the whole mix of human activity? Can design “change the world?”

As Lebbeus Woods argues, our new bubble should provide free public space as a collection of “spaces of disorientation and of reorientation, from rational, functionalist society to one that is liberated and self-inventing. It was meant to replace capitalist exploitation of human labor and emotion with anarchist celebration of them. Its architecture is to provide a complex armature on which could be woven endlessly new, unpredictably personal urban experiences, determined by ever-changing individual desires.” (Lebbeus Woods on Constant (Constant Nieuwenhuys’ New Babylon 1959-74, see https://lebbeuswoods.wordpress.com/2009/10/19/constant-vision/ )

PHASE 1 (2 WEEKS): SITE ANALYSIS + ENERGY PATTERNS + FORMAL EXPERIMENTS To continue with PART 2 of this studio, we will analyze thoroughly the urban space enveloped in the perimeter that Buckminster Fuller defined for the Dome Under Manhattan in 1960. We will conceptualize this round perimeter of urban space in 3 time phases: 1960 (When Fuller proposed the Bubble), 2017 (today, 57 years since 1960) and 2074 (57 years from 2017). The aim is to introduce within the bubble the toolkit of urban devices documented in Part 1 with the Catalog and to project alternative future scenarios and urban living patterns.

In particular, we will focus on: a) Site analysis Data, infographics and drawings analyzing all information numerically and spatially in three phases 1960, 2017 and 2074. You will need to find date for inside the Fuller’s Dome perimeter for: population, population density (number of Inhabitants per km2), population growth rates, % of foreigners (population composition), migration rate, surface area, climate, urban microclimates, air rights, GDP

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RENSSELAER POLYTECHNIC INSTITUTE | SCHOOL OF ARCHITECTURE | FALL 2017 | VERTICAL DESIGN STUDIO | PROFESSOR | LYDIA KALLIPOLITI | e: kallil@rpi.edu

per capita, government type, public space types and their surface area as well as the access to public spaces), number of households, types of commerce and other. Please do not only present statistical information, but try to visualize distributions and draw patterns you discover from the data. b. Energy Patterns You will also need to identify in drawings, the patterns of energy distribution and main infrastructures of transportation. How does energy arrive to these locations? Are there off-grid sites, energy generators and self-reliant nodes within the defined perimeter? How can energy patterns be altered with the introduction of the tools you have documented and invented in Part 1? How can we propose with the use of your tools a resilient city, where the definition of sustainability expands beyond environmental responsibility to include both social and economic imperatives? c. Formal Experiments How can formal experiments with bubbles inspired by the work of Frei Otto help you devise new ways of stratifying infrastructure and types of public space? Can a discovery from the formal experiment lead to a new form of organization in the distribution of different types of public spaces?

PINUP FOR PHASE 1: October 23, Location TBD DELIVERABLES: BUBBLE MODEL based on studio site model of Manhattan+ 3 Drawings for each team, indicating each area of focus 36’’x36’’

PHASE 2 (2 WEEKS): HOW TO BUILD A MOUNTAIN INSIDE A BUBBLE

Eugene Emmanuel Viollet-le-Duc, Decomposition of the rombohedrals and the Restoration of Mont-Blanc (1868-1879)

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RENSSELAER POLYTECHNIC INSTITUTE | SCHOOL OF ARCHITECTURE | FALL 2017 | VERTICAL DESIGN STUDIO | PROFESSOR | LYDIA KALLIPOLITI | e: kallil@rpi.edu

Most cities sprawl horizontally in the land to accommodate the fluctuations of commerce and demands of urban life. What if we imagine a vertical sprawl within the confined boundary of Fuller’s Bubble? If we imagine a radical increase in population within the next 57 years (an increase of diverse population) how can we uncover and coordinate the underutilized spatial elements of the city? If we multiply the density inside the Dome Under Manhattan, what are the new possibilities emerging from three dimensional movement through urban strata that make densification viable? To maximize densification potential, concentration should be around existing mobility channels to utilize existing mobility networks.

Similar to the recent theories of Rem Koolhaas, who rethinks the value of preservation for future urban environments, we will look at the city as a palimpsest, a constructive coexistence of the current fabric and a new fabric superimposed on the existing one. We will see our perimeter as a starting point to find and occupy areas of opportunity and inject it with purpose-oriented design imperatives.

Equally important will be the notion of stratification in the format of ‘building a new mountain’ on top of the existing urban fabric. Movement will open up to new urban strata – activating underutilized space in the city fabric including rooftops, air space, vacant buildings and the ground level. Stratification aims to encourage a perpetual, critical engagement with the existing layers of the city, whilst rethinking, adding and developing new strata of the city.

PINUP FOR PHASE 2: November 2, Location TBD DELIVERABLES: BUBBLE MODEL revised- based on studio site model of Manhattan Two large drawings of 36’’ in width and 108’’ in height: the first will be a detailed exploded axonometric of your mountain-bubble proposal including call-outs to further indicate details of important nodal points. The second drawing will be an analytical section and a drawing of projective analysis including not only the built artifacts that exist and are proposed but also the programmatic elements and congregations of people and activities in your proposed framework.

*

MIDTERM REVIEW: Thursday November 6th, 2-6pm (tentative), location and invited jury TBD MIDTERM DELIVERABLES: A list of deliverables will be given two weeks prior to the midterm review Schedule: The studio will meet regularly on Mondays and Thursdays throughout the semester. On occasion, the instructor will need to leave the studio at 5:15pm. Based on need, there will also be additional studio hours on Wednesdays between 2-5pm, TBD weekly.

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RENSSELAER POLYTECHNIC INSTITUTE | SCHOOL OF ARCHITECTURE | FALL 2017 | VERTICAL DESIGN STUDIO | PROFESSOR | LYDIA KALLIPOLITI | e: kallil@rpi.edu

PART 3| LIVING IN THE BUBBLE | 4 weeks CRN 48080 ARCH4770.02 ARCHITECTURAL DESIGN STUDIO 5 CRN48669 ARCH4780 .02 ARCHITECTURAL DESIGN STUDIO 6 CRN48908 ARCH4790.02 ARCHITECTURAL DESIGN STUDIO 7

PROFESSOR: Lydia Kallipoliti

For the final part of the semester, we will continue to work on the public spaces you have created under the Dome Under Manhattan and on how your toolkit from phase 1 has been reused, dispersed and re-conceptualized. If you have drifted away from the tools you analyzed in phase 1, it is important to revise your catalog with different tools and redraw all the devices of your toolkit.

All your analyzed objects, systems and environments should appear in your collective public space and in the bubble model. All teams need to revise their bubble model.

Each team is tasked to develop a chunk of the public space they have proposed in phase 2, reconstituted out of the catalog’s living machines and overall scheme for the dome. This public space is not siteless, but it abstracts a relationship to the specific public space in midtown Manhattan. The topography, format and physiology and transactional geopolitics of your space will be comprised of real parts as an extrusion of social reality.

Although phase 3, will continue from the work produced in phase 1 and 2, we will telescope in a small scale of the individual city dweller and the collective and its use of public space. We will produce narratives, storyboards and videos for the dwellers and the visitors of this space and the series of spaces and experience they encounter.

Another important part of phase 3 is to delve deeper into the urban devices or INHABITABLE MACHINES that contribute to a new understanding of public space. Your inhabitable machines

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RENSSELAER POLYTECHNIC INSTITUTE | SCHOOL OF ARCHITECTURE | FALL 2017 | VERTICAL DESIGN STUDIO | PROFESSOR | LYDIA KALLIPOLITI | e: kallil@rpi.edu

should combine technical data with experimentation in form and space. Your INHABITABLE MACHINES WHICH inform public space should enhance the current use of public spaces and foster alternative living patterns.

Items you will need to produce in this phase include: INHABITABLE MACHINES -

A detailed drawing in a small scale, preferably in an exploded axonometric evidencing the material constitution and understanding of the realization of your proposal

-

An interactive model, as evidence of the living machine you are proposing for public space

NARRATIVE/ STORY/ EXPERIENCE -

A storyboard of an individual experience throughout a section of the day using the public space you designed.

-

A video of 3 minutes with your narrative and manifesto on why the public space you have designed is needed and how it is used

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2 large scale renderings showing the experience of visitors to the public space you have created.

Aesthetic of Representation: Heavy post-production work on the image is required such that perceptual expectations are bent toward unfamiliar readings. Further, whatever readings that do emerge should remain subliminal and ambivalent. It would be useful to model your approach after any number of great renderers of the past such as BoullĂŠe, Ledoux, or upon the specific techniques of selected realist (including Photorealist and Hyperrealist) or surrealist schools of painting (Albrecht DĂźrer, Artemisia Gentileschi, Lucian Freud, Chuck Close) or illustration. Photographers, too, might inspire. See Edward Burtynsky or the hyper-collages of Jim Kazanjian. An even more focused emulation could be found between your own composition and one found in some other, the techniques of which you imitate to create an uncanny and distant resonance between the two.

SCHEDULE Monday November 13: PINUP/ Group discussion Deliverables: Bubble Model Revised and narrative in writing 300 words, Location: Library Seminar Room Thursday November 16: NO CLASS | Instructor away for PhD defense thesis in New York * If you want in addition to Monday during this week it is possible to make an appointment with me on Tuesday November 14 in my office M112 Monday November 20: PINUP/ Group discussion

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RENSSELAER POLYTECHNIC INSTITUTE | SCHOOL OF ARCHITECTURE | FALL 2017 | VERTICAL DESIGN STUDIO | PROFESSOR | LYDIA KALLIPOLITI | e: kallil@rpi.edu

Deliverables: Model of inhabitable machine and detail drawing in a print of 24x24, Location 101 * If you want in addition to Monday during this week it is possible to make an appointment with me on Tuesday November 21 in my office M112 Thursday November 23: NO CLASS | THANKSGIVING Monday October 27: Desk critiques Thursday November 30: PINUP/ Group discussion Deliverables: Storyboards and videos, Location: library seminar room Monday December 4: Desk critiques Thursday December 7: Desk critiques

FINAL REVIEW Date: Wednesday December 11th, location Greene 201 There will be an invited jury to the final review TBD.

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RENSSELAER POLYTECHNIC INSTITUTE | SCHOOL OF ARCHITECTURE | FALL 2017 | VERTICAL DESIGN STUDIO | PROFESSOR | LYDIA KALLIPOLITI | e: kallil@rpi.edu

Course Policies in Grading | RENSSELAER POLYTECHNIC INSTITUTE The following are guidelines are followed when awarding grades in design studios: A exceptional and/or unusually outstanding work - intellectually, formally, and technically. There is clear evidence of genuine talent and architectural insight. Reserved for work that is extremely sound and not merely flashy.

B very strong work - aesthetic merit and technical competence although some problems are noted.

Work reflects solid commitment to the learning process and an understanding of the issues.

C average work - meets basic goals of exercises, presented in a complete manner and does not contain serious errors of judgment or omission.

In addition, your grade is a direct reflection upon your design ability and its development, the initiative taken over the entire semester, how you engage ideas with the professor and the class, and the rigorous pursuit in your investigation.

ACADEMIC INTEGRITY | RENSSELAER POLYTECHNIC INSTITUTE Intellectual integrity and credibility are the foundation of all academic work. A violation of Academic Integrity policy is, by definition, considered a flagrant offense to the educational process. It is taken seriously by students, faculty, and Rensselaer and will be addressed in an effective manner. If found responsible for committing academic dishonesty, a student may be subject to one or both types of penalties: an academic (grade) penalty administered by the professor and/or disciplinary action through the Rensselaer judicial process described in this handbook. Academic dishonesty is a violation of the Grounds for Disciplinary Action as described in this handbook. A student may be subject to any of the following types of disciplinary action should disciplinary action be pursued by the professor: disciplinary warning, disciplinary probation, disciplinary suspension, expulsion and/or alternative actions as agreed on by the student and hearing officer. It should be noted that no student who allegedly commits academic dishonesty will be able to drop or change the grade option for the course in question.

A record of disciplinary action is permanently maintained by the Institute as noted below: RECORD OF DISCIPLINARY ACTION (2014-2016 Rensselaer Handbook of Student Rights & Responsibilities, August 2014, p. 15) Any disciplinary action can be disclosed to federal, state or local government entity, law enforcement, licensing or certification board, or corporate entity upon request of said agency if and only if: (a) by subpoena or (b) a student signs a confidentiality waiver for said agency or government entity.

The definitions and examples presented below are a sampling of types of academic dishonesty and are not to be construed as an exhaustive or exclusive list. The academic integrity policy applies to all students, undergraduate and graduate, and to scholarly pursuits and research. Additionally, attempts to commit academic dishonesty or to assist in the commission or attempt of such an act are also violations of this policy.

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Academic Fraud: The alteration of documentation relating to the grading process. For example, changing exam solutions to negotiate for a higher grade or tampering with an instructor’s grade book.

Collaboration: Knowingly facilitating and/or contributing to an act of academic dishonesty. For example, allowing another student to observe an exam paper or allowing another student to “recycle” one’s old term paper or using another’s work in a paper or lab report without giving appropriate attribution.

Copying: Obtaining information pertaining to a graded exercise by deliberately observing the paper of another student. For example, noting which alternative a neighboring student has circled on a multiplechoice exam.

Plagiarism: Representing the work or words of another as one’s own through the omission of acknowledgment or reference. For example, using sentences verbatim from a published source in a term paper without appropriate referencing, or presenting as one’s own the detailed argument of a published source, or presenting as one’s own electronically or digitally enhanced graphic representations from any form of media.

Cribbing: Use or attempted use of prohibited materials, information, or study aids in an academic exercise.

For example, using an unauthorized formal sheet during an exam.

Fabrication: Unauthorized falsification or invention of any information in an academic exercise. For example, use of “bought” or “ready-made” term papers, or falsifying lab records or reports.

Sabotage: Destruction of another student’s work. For example, destroying a model, lab experiment, computer program, or term paper developed by another student.

Substitution: Utilizing a proxy, or acting as a proxy, in any academic exercise. For example, taking an exam for another student or having a homework assignment done by someone else.

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BIBLIOGRAPHY Janette Kim and Erik Carver, The Underdome Guide to Energy Reform (New York: Princeton Architectural Press, 2015).

Caroline O'Donnell, Niche tactics: Generative relationships between architecture and site (New York, NY ; Abingdon, Oxon : Routledge, 2015), pp. 1-29.

Gregory Bateson, “The Roots of Ecological Crisis.” In Bateson, Steps to an Ecology of Mind: Collected Essays in Anthropology, Psychiatry, Evolution, and Epistemology (San Francisco, CA: Chandler Publ. Co., 1972), pp. 496-501.

Jane Bennett, Vibrant Matter A Political Ecology of Things (Durham: Duke University Press, 2010).

Anab Jain and Jon Ardern, “OWNING THE SKY; An invisible architecture of civilian drones,” ARPA Journal, Issue 04, Instruments of Service (May 2, 2016). Retrieved from http://www.arpajournal.net/owning-thesky/ Gediminas Urbonas, Ann Lui and Lucas Freeman (Eds), Public Space? Lost and Found (MIT Press, 2017).

Dome Over Manhattan – Buckminster Fuller & Shoji Sadao (1960) Laura Kurgan, "Threat Domes" Any, no. 17 (1997), pp. 31-34.

Judith Ransom Miller, “Fuller’s latest dome arises,” Industrial design, v.8 (1961 Feb), pp. 64-68.

Jonathan Massey, "Buckminster Fuller's Cybernetic Pastoral: The United States Pavilion at Expo 67," Journal of Architecture, Vol. 11, no. 4 (2006), pp. 463-83.

Timothy M. Rohan, "From Microcosm to Macrocosm: The Surface of Fuller and Sadao's Us Pavilion at Montreal Expo '67," Architectural Design, Vol 73, no. 2 (2003), pp. 50-56.

Buckminster Fuller, “The Case for a Domed City, in St. Louis Post Dispatch (September 26, 1965), pp.39http://66691177999.yuku.com/topic/1852/The-Case-for-a-Domed-City-Original-Manhattan41.

See Dome-Proposal#.Uvl2hEJdWoV. Luis Fernández-Galiano, "Las Propuestas Utópicas: Ciudades En La Nave Tierra = Utopian Proposals: Cities in Spacesgip Earth." AV monografías = AV monographs, no. 143 (2010), pp. 18-19.

Whole Earth Catalog Stewart Brand (Ed.), The Whole Earth Catalog Series, Menlo Park, CA: Portola Institute, a non-profit educational corporation, 1968-1972.

Stewart Brand (Ed.), The Essential Whole Earth Catalog: Access to Tools and Ideas. Garden City, NY: Doubleday, 1986.

Stewart Brand, “How to Do a Whole Earth Catalog.” In Last Whole Earth Catalog, 435-41.

Stewart Brand, II Cybernetic Frontiers (New York: Random House, 1974).

Stewart Brand (Ed.), The Next Whole Earth Catalog: Access to Tools, Sausalito, CA: Point Foundation, 1980.

Foam Peter Sloterdijk, “Foam City,” Log 9 (Winter–Spring 2007), pp. 63–76.

Peter Sloterdijk, “Cell Block, Egospheres, Self‐Container,” Log 10 (Summer–Fall 2007), pp. 89–108.

Peter Sloterdijk, “Foams,” Harvard Design Magazine 29 (Fall–Winter 2008–9), pp. 38–52.

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Timothy Morton, Hyperobjects: Philosophy and Ecology After the End of the World (Minneapolis, MN: University of Minnesota Press, 2013), pp.1-96.

The Eden Project – Nicholas Grimshaw (2001) Edward P. Bass, "Biosphere 2: Space Biosphere Ventures" in Verb: Architecture Boogazine, Vol.4 (2005), pp.98-105.

Ross Adams, “Approaching the End: Eden and the Catastrophe” in Log, No.19, (Spring-Summer 2010), pp.87-97.

Dominic Cole, “Brave New World: Eden Project” in Landscape Design, No.319 (April 2003), pp.12-17.

Howard Jones, “The Eden Project: A Synopsis around Sustainable Enterprise,” in The Journal of Corporate Citizenship, No. 30, (Summer 2008), pp.133-137.

Chris Barrett, Andy Bascombe, Mark Bostock, Hugh Collis, Geoff Farnham, and Alistair Guthrie, “Creating the Eden Environment,” in The ARUP Journal, (January 2002), pp. 3-12.

Arctic City – Frei Otto (1970) Fabrizi, Mariabruna. "The Artic City. A Project by Frei Otto and Kenzo Tange." SOCKS. October 3, 2015. http://socks-studio.com/2015/10/03/the-artic-city-a-project-by-frei-otto-and-kenzo-tange/.

Lucarelli, Fosco. "First City in Antarctica, a 1980-83 Study by Amancio Williams."

SOCKS. March 16, 2014. http://socks-studio.com/2014/03/16/first-city-in-antarctica-a-1980-83-study-by-amancio-williams/.

Roy, Cyprien. "Arctic City." Architect Magazine. March 10, 2015. http://www.architectmagazine.com/project-gallery/arctic-city-6721.

Echo Chambers in media (2016) “The Bubble,” Season 42 2016, Saturday Night Live, NBC, http://www.nbc.com/saturday-nightlive/video/the-bubble/3428577 Mostafa El. Bermawy, “Your Filter Bubble is Destroying Democracy” in Wired, 11.18.2016, https://www.wired.com/2016/11/filter-bubble-destroying-democracy/.

Filippo Menczer, “Fake Online News Spreads Through Social Echo Chambers” in Scientific American (November 28, 2016), https://www.scientificamerican.com/article/fake-online-news-spreads-through-social-echo-chambers/ Kartik Hosanagar, “BLAME THE ECHO CHAMBER ON FACEBOOK. BUT BLAME YOURSELF, TOO”, in Wired (November 26, 2016), https://www.wired.com/2016/11/facebook-echo-chamber/

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A NOT SO WHOLE EARTH CATALOG ; the Chthulucene awaits!

26618 ARCH 4260 ARCHITECTURE DESIGN 6, section 03 28476 ARCH 4770 ARCHITECTURE DESIGN 5, section 03 28850 ARCH 4780 ARCHITECTURE DESIGN 6, section 03 28877 ARCH 6630 GRADUATE ARCHITECTURE DESIGN 5, INTEGRATED DESIGN DEVELOPMENT, section 01

PROFESSOR: Lydia Kallipoliti The Geological Society of London has suggested in 2008 that human civilization has entered a new epoch, the Anthropocene. We are running through an Earth epoch defined by the emergence of urban-industrial society as a geophysical force: not only impacting natural resources and the experience of nature, but also intervening, albeit mostly unwittingly, in the complex atmospheric and oceanographic systems that allow for human life to persist on the planet. The Anthropocene has begun when human activities had a significant global impact on the Earth's ecosystems. Perpetual floods, glacier melts, tropical outbursts, fires, drought and other climatic phenomena reflect what we so often refer to as climate age or what sociologist Andrew Ross refers to as “strange weather.”

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The anthropocene, a term which was canonized by atmospheric scientist Paul Crutzen in 2000, lends tangible identity to this new period in which we live, one of increasing existential threat. 1 Therefore, how does one think about art, architecture, aesthetics and ecological design in the anthropocene? The range of responses to this period of environmental anxiety is extensive; from corporate approaches to generate income through ecological tourism, to radical ecological design. The consensus, nevertheless, is that Ernst Haeckel’s definition of “ecology” in 1866 2 -as an integral link between living organisms and their surroundings- or Sim van der Ryn’s definition of ecological design in 1996 3- a call to minimize the ecological footprint of designed objects- is not enough. Ecological design can no longer be conceptualized exclusively as a combative tool against aggravating climatic conditions. Technology, as weaponry and as defense, is not the sole search; neither is an exclusive engagement with teleology. The new geological era of the anthropocene does not only raise material problems, but also cultural and aesthetic problems. Our perception of the environment and orientation in the world is irreversibly displaced, as the fantasy of our habitation outside of nature, or even the very existence of nature itself, is no longer tenable.

It is therefore within our obligations to ask whether the measures, policies and regulations in the age of the anthropocene are effective and whether contemporary approaches to climate change limit our imaginary as architects, designers and thinkers. Commonly, environmental concerns promote a conservationist ethic and a list of cautionary daily practice of scarcity. Have we entered, nevertheless, a truly dystopian era, where our only option is austerity and caution revering Mother Nature? Theoretical physicist Freeman Dyson, one of the most respected figures for his work in quantum electrodynamics, solid-state physics, astronomy and nuclear engineering, argues that the rising levels of CO2 in the atmosphere have transformed the world to a greener planet. As paradoxical as it seems, Dyson argues that there is scant evidence that human activity is causing global temperatures to rise, and that climate models projecting dire consequences in the coming centuries are unreliable. Even if temperatures do increase significantly, it could actually be a benefit to humanity. 4 Climate change is not a scientific mystery but a human mystery. “How does it happen that a whole generation of scientific experts is blind to obvious facts?" 5 No matter the predictions, be it positive or negative, there are real, unintended, “weird” consequences as material byproducts in the age of the Anthropocene that reveal an incidental architecture overlooked by architects and designers. For example, 1

Paul. J. Crutzen and Eugene F. Stoermer, “The Anthropocene,” Global Change Newsletter 41 (May 2000): 1718.

2 Ernst Haeckel. 1866. Generelle Morphologie der Organismen: Allgemeine Grundzüge der Organischen Formen-Wissenschaft; mechanisch begründet durch die von Charles Darwin reformirte Descendenz-Theorie. G. Reimer. Berlin.

3

Sim Van der Ryn, and Stewart Cowan. 1996. Ecological Design. Island Press. Washington, D.C.

4

Freeman Dyson Takes on the Climate Establishment, Interviewed by Michael d. Lemonick, Yale Environment 360 (June 04, 2009). Retrieved from HTTP://E360.YALE.EDU/CONTENT/FEATURE.MSP?ID=2151 on August 30, 2016.

5

Ibid.

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the “plastic soup,” famously known as the Great Pacific Garbage Gyre, is a product, or rather a by-product, of social reality beyond our perception of urban daily life; so is the pastiglomerate, the percentage of PCBs in the Hudson River, toxic aquafers and space debris. These objects, systems and environments force us to take a deeper look at the geochemical affinities between capital and excrement. Political theorist Jane Bennet describes the soup as the pathology of capitalist production 6—a hoard of things from the micro scale of a compulsive individual collector to the telluric scale of a macro landscape.

As such emergent objects, systems and environments are being engaged by the natural and social sciences, the role of architecture in understanding the effect of the anthropocene on culture and society is also coming to the fore. Architecture must begin to play a vital role in fostering social awareness and informed decision-making, as environmental concerns are cultural and aesthetic problems as much as technological and material ones.

In fact, the title of the anthropocene is highly contested and will be replaced in the context of this studio with a new title. Scholars in the humanities have joined the discussion recently, debating the merits of differing terms such as “Capitalocene” (placing the blame on the overconsumption of capitalism) or “Plasticine” (pointing to the material that is choking our planet). A term we will favor is Donna Haraway’s Chthulucene, a name for the dynamic ongoing sym-chthonic forces and powers of which people are a part. 7 As she argues, “I am a compost-ist, not a posthuman-ist: we are all compost, not posthuman.” 8 We need to investigate, monitor and document the strangeness of the real; to invent an architecture completely devoted to the problems of the real, but not one that is unaware of its uncertainty and complexity. The Chthulucene is not about constructing fictions and fantasies, but about closely observing, conducting forensic analysis, asking questions and intrumentalizing our findings in a creative way.

As a famous cinematographic line suggests, “Open your eyes” to the Chthulucene next to you. Then, “Develop an eros with the Chthulucene;” because only if you love, you care enough to not idealize the subject of your love and see it in all its dimensions. Then, it is possible to transform dross into something germinal, like the “plastic soup” of the engineers without borders, who provided not only a functional solution, but also created a new aesthetic and cultural dimension from a plastic mountain of trash.

So if the Chthulucene defines a new “geological” age then we need a new “natural” history! A new taxonomy for life, techne, and earth! Our studio will produce a new “field” guide to identify, classify, intervene and reimagine the strange by products of the Chthulucene. The studio will interrogate two key sets of questions: a) How can we design buildings not only as aesthetic and formal artifacts, but also as new natures? Not only in physiological exchange with the existing environment, but also as new productive 6

See Jane Bennet, “Powers of the Hoard: Further Notes on Material Agency” in Cohen, Jeffrey Jerome (Ed), Animal, Vegetable, Mineral: Ethics and Objects (Washington, DC: Oliphaunt Books, 2012), pp.237-272.

7

Donna Haraway, “Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Kin” in Environmental Humanities, Vol. 6, 2015, pp. 159-165.

8

Ibid.

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environments which challenge and affect the existing climate? How can we understand context and site not only as the given built urban surrounding, but also as the physiological and ecosystemic condition of this surrounding? B) How can we understand the design process as an organizational platform, where different creators, collectives, ideas and technologies can mix and remix, assemble and reassemble? Additionally, an aim of the studio is to understand architecture as part of larger complex systems, be those cultural, social, ecological, economic or political. Research is an essential aspect of situating projects in systems, and this studio takes the position that design is research and research is design. As well, student design proposals must be supported by fact gathering, empirical data and formal iterations. At the same time research must be conducted as design: you must design the processes of collecting, evaluating, analyzing and spatializing data, and conversely the interpretation, application and dissemination of your findings.

PART 1| THE NOT SO WHOLE EARTH CATALOG | 4 weeks

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To start this semester’s inquiry, we will begin with The Whole Earth Catalog (WEC) published by the Portola Institute between 1968 and 1972. Stewart Brand’s vision was to create a catalog along the lines of an advertisement or a telephone catalog in an expansive, comprehensive and visually stimulating information database that people from different locations could plug into. This concept for a connective data tissue was largely inpsired by the icon of the globe that became the diachronic symbol of the Whole Earth Catalog. The earth image had such an impact on Brand that he became part of a public campaign in 1966 urging NASA to release to the public photographs of the earth as viewed from spaceships. In this sense, the Whole Earth Catalog was the first publication aspiring to function as a whole earth system, while apple computer entrepreneur Steve Jobs categorized the Whole Earth Catalog as a conceptual forerunner of a web search engine. Considering the statement of purpose of the magazine, this claim is not far from the catalog’s original aims: The WHOLE EARTH CATALOG functions as an evaluation and access device. With it, the user should know better what is worth getting and where and how to do the getting. An item is listed in the CATALOG if it is deemed: 1) Useful as a tool, 2) Relevant to independent education, 3) High quality or low cost, 4) Easily available by mail.

What would a WEC catalog look like in 2016 in an era when our perception of the planet is far from a balanced whole earth system? What sort of information would be considered vital today? And most importantly, how can this reinvented information system help us understand the design process, not as the authored intended formal creation of a new reality, but rather as a collection of seemingly juxtaposing ideas, inventions and technologies? Through such a network of information, how could we design and speculate differently?

We are in a splintered era; a time of anxiety and ideological diffusion, with no prevailing schools of thought to mark the lines of paradigms and disciplinary canons. However, this splintering is changing and expanding the very nature of design itself. We are observers of practices which suggest an open, collaborative, system-oriented approach: flying drones which create temporary wifi networks in isolated areas; DIY construction kits; manufacturing at home through personal 3D printers; a Wikihouse with opensource plans that can be replicated, improved and updated anywhere; and countless other examples. This certainly does not mean that the architecture discipline is dead, but the identity of the architect as single author of space might be - so is the venture to classify disciplinary objects based on their iconicity.

The studio as a group will identity and decide on a structure for the new version of the Not So Whole Earth Catalog, a guidebook to the Chthulucene. If the new catalog will be divided in chapters, each group will be tasked with a specific chapter/ category. You will be required to identify 9 items, 3 objects, 3 systems and 3 environments of your assigned section in the Chthulucene guidebook. For each selected entry, you will need to create a catalog of your research similar to Amy Balkin’s guide to the Atmosphere. http://tomorrowmorning.net/atmosphereguide_exploratorium_balkin_2013.pdf

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In preparing for this assignment, choose an item you would like to study and develop a matrix to fill out both textually and graphically: Internal physiology — An ‘internal’ description of the item (its parts and pieces), what is its phenotype? Or what pieces is it comprised? “Genes?” “organs” “codes”?

External physiology — An ‘external’ description of the item, how does it appear to other interfaces (how it appears to other elements), its morphology, how does it act, what does it do, what are its physical functions?

Niche — Within the given domain, what is the specific ‘industry sector’ or ‘community’ that keeps this item ‘alive’? Habitat/ecology (e.g. social network, manufacturing, supply chain), invent new ecological terms: forest, swamp, desert, with something else Range — What are the multiple ecologies this species inhabits? What is the distance and duration of the item’s activities?

Alimentation — What does it ‘eat’?

Excrementation — What does it ‘shit’? What are its traces or signs? How does one track the animal?

Aesthetics — How to address the aesthetics of the item? (visualisation, what does it look like?)

Sentimentalization — How does it feel? How does it make you feel?

Relationships / Ecologies — What is it related to? What is “like” it, what other species is similar?

Along with the matrix/catalog for each item, each group should develop an additional page for each item, as a narrative including its story in a text of 250 words, architecture drawings as forensic analysis of the selected project and also speciations and variations of the item based on your research.

All selected objects, systems and environments should be byproducts of daily production cycles, unplanned, invisible, paraeconomical realities that have spatial and architectural consequences. Examples may include electronic waste piles, toxic aquafers (look at the photographs of Edward Burtynski), plastiglomerates, PCBs concentrations in rivers, toxic soils, Amazon’s chaotic storage system, methane pockets in Antarctica, sick buildings, plastic soup, Google’s offshore data towers in international waters et-al.

Groups: Students will work in groups of 2 to create one part of the studio’s contemporary version of the Not So Whole Earth Catalog. For example

Product: A section or chapter of the Not So Whole Earth Catalog, a guidebook to the Chthulucene. This will contain 9 guidebooks for your selected objects, systems or environments plus 9 narratives for each including architecture drawings of forensic analysis.

Deliverables: All work should be submitted in Tabloid size printouts (Every team is expected to present a minimum of 18 printouts, a suggested number would be 54.

Pinup Date: Monday October 3rd, 2-6pm, location TBD Schedule: The studio will meet every Monday 2-6pm throughout the semester. On Wednesdays, the instructor will need to leave the studio at 5:20pm. Please note that the instructor will be away on the following date due to a lecture obligation outside of Troy, NY: Wednesday September 14 (Instructor in Barcelona). There will be two make-up sessions on the following dates: Thursday September 29, 2-5pm and Thursday September 8, 3-5pm.

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PART 2| NOT SO WHOLE EARTH PROBES | 4 weeks Part two asks that you select a specific point in the world either in a city or outside of an urban environment where a number of the items you have documented in your Chthulucene guide book in phase 1 are located in one big vertical section. Your section in the expanded field will be an inquisitive drawing containing multiple layers of information; it will be partly real and partly fictional, though please consider a type of fiction always based on data and educated conjectures. In other words, not all the items you have documented in your guide book need necessarily be located in one actual section at one point in the world.

They will nevertheless, need to appear in the section you will design. This is an assignment partially focused on analysis and partially focused on projective analysis or design speculation. For an example of an analytic drawing, look at Jonathan Massey and Andrew Weigand’s section of the Gherkin building in London: http://we-aggregate.org/media/files/60673e71acd3f898b15021668e47b9bf.pdf

In phase 2, you are asked to create an analytical drawing, a large section in the expanded field, as a probe from the core of the earth to the stratosphere. Draw all findings you locate in the probe along with geological data and Google’s internet balloons or flocks of drones and satellites; precision and detail matter. Create your probe by using and putting together your drawings, ideas, strategies and technologies from the catalog you created in the previous assignment and redesign them for potential application in your selected point of the probe. You may reinvent the found material and speculate upon its future use. Toward

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this end it is important to create a scenario and imagine inhabitable machines as part of a projected built environment.

You will be asked to produce two large drawings of 36’’ in width and 108’’ in height: the first will be a drawing of documentation and projective analysis drawing; the second drawing will be a speculation of your selected earth probe including inhabitable machines that you will develop based on your research.

As part of phase 2, the studio asks that you develop INHABITABLE MACHINES for your selected earth probes. The studio will encourage the use of diverse design strategies aimed not only towards the function of the machine you will develop, but also towards the spatial implications that the machine reveals. Your inhabitable machines should combine technical data with experimentation in form and space, especially as related to systems already existing in the site for local cultivation and food production. Your INHABITABLE MACHINE should contribute to the existing environment. The machine should be a highly specified designed environment which fosters alternative living patterns.

Each group of students will research a particular conversion process in order to construct a machine that receives input and produces output. The intention of the physical experimentation aims not only to resolve technical problems, but also to develop compelling architectural and design strategies and to address filtration, reprocessing and conversion as integral functional and programmatic parts of proposals for the building programs, which we will develop in the next phase.

Each machine will perform a process of regulating material flows. Here are some examples: FILTRATION: How do we filter and purify water with nets and surfaces to eliminate pollution and collect floating objects?

ACCRETION: How do we instrumentalize processes of sedimentation and accrete particulate matter? How do we introduce electricity, biorock or other techniques and materials in order to catalyze the accretion of particulate matter?

CARVING AND BRANCHING: How does water carve and form micro-territories through the branching of smaller flows and the migration of soil from one location to the other?

FLOW CONTROL AND STORAGE: How do we store water in containers and regulate its distribution in different time periods? How can we use damns and hydraulic structures in order to foster the growth of a species and/or generate electrical currency?

Measure allows us to understand relations; our body in relation to the environment, the proximity of objects, an individual’s biometric imprint, the thickness of walls and vulnerability to weather. You are asked to design a machine with a positive environmental impact, converting some form of output into useful input. You may begin your investigation with physical and material experimentation in a micro-scale and develop abstract machines that regulate different convergence processes.

Your INHABITABLE MACHINE should contribute to an “off the grid” self-sufficient environment. The main purpose of the machine is to mediate material flows, while at the same time offering a creative synthetic environment that fosters different daily practices of working, eating, napping, and exercising. The machine

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should be a highly specified designed environment which fosters alternative living patterns. Machines should be designed, constructed and drawn out of a combination of existing parts documented in part1.

Deliverables: Two large drawings of 36’’ in width and 108’’ in height: the first will be a drawing of documentation and projective analysis drawing; the second drawing will be a speculation of your selected earth probe including inhabitable machines that you will develop based on your research.

One physical model of your INHABITABLE MACHINE constructed and drawn out of a combination of existing parts documented in part1.

Schedule: The studio will meet every Monday 2-6pm. On Wednesdays, the instructor will need to leave the studio at 5pm. There will be two make-up sessions: on Thursday October 6 from 3-5pm and on Tuesday October 25 from 6-8pm.

Please note that Monday October 10 is Columbus Day and there are no classes at RPI; all Monday classes will follow a Tuesday schedule. The studio will meet on Tuesday October 11, 2-6pm and will resume its normal schedule on Wednesday October 12.

The instructor will be away on the following date due to a lecture obligation outside of Troy, NY: Wednesday October 19 (Instructor in Istanbul). It is possible to schedule office appointments to make up for this class, which is optional.

Groups: For this assignment, you may choose to either work individually or continue working with your group collaborators. It is possible to change collaborators, if you find a partner to switch.

MIDTERM REVIEW Date: Monday October 31st, 2-6pm, location TBD There will be an invited jury to the midterm review TBD.

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RENSSELAER POLYTECHNIC INSTITUTE | SCHOOL OF ARCHITECTURE | FALL 2016 | VERTICAL DESIGN STUDIO | STUDIO CRITIC | LYDIA KALLIPOLITI | e: kallil@rpi.edu

PART 3| NOT SO WHOLE EARTH REPLICAS | 4 weeks

For the final project for the semester, we will collect all versions of analyzed objects, systems and environments produced in the studio’s speculative variations in a collective atlas or map and a collective model, with certain zoning regulations, defined by territorial parameters. As a group, we will create one city, reconstituted out of the catalog’s pieces and the probes. This earth replica is not siteless, but it abstracts a relationship to a specific site. The topography, format and physiology and transactional geopolitics of the new Chutlocene city will be comprised of real parts as an extrusion of social reality. *More information to come before the assignment.

STUDIO SPIRIT : An ideal studio environment is one where students learn as much if not more from their classmates as they do from their instructor, offering insight and critique to one another and feeling engaged in each other's work and ideas. There are two ingredients that allow this to happen: first, the ability to absorb the discussions happening around you during studio time, in particular desk crits. This means avoiding random browsing, social networking, the watching of movies or television or any other activity that is a distraction from studio time. The second ingredient is students’ presence at all pin-ups and reviews (unless there are medical or other urgent conditions). Assignment pinups are scheduled with the goal to

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RENSSELAER POLYTECHNIC INSTITUTE | SCHOOL OF ARCHITECTURE | FALL 2016 | VERTICAL DESIGN STUDIO | STUDIO CRITIC | LYDIA KALLIPOLITI | e: kallil@rpi.edu

expose each student to the multiple ways of approaching architecture and design throughout the semester.

Pinups are critical to your learning experience and will be treated as such by your instructors. Please make sure to arrive timely with all deliverables at all pinups unless unforeseen circumstances arise once throughout the semester.

Course Policies in Grading | RENSSELAER POLYTECHNIC INSTITUTE The following are guidelines are followed when awarding grades in design studios: A exceptional and/or unusually outstanding work - intellectually, formally, and technically. There is clear evidence of genuine talent and architectural insight. Reserved for work that is extremely sound and not merely flashy.

B very strong work - aesthetic merit and technical competence although some problems are noted.

Work reflects solid commitment to the learning process and an understanding of the issues.

C average work - meets basic goals of exercises, presented in a complete manner and does not contain serious errors of judgment or omission.

In addition, your grade is a direct reflection upon your design ability and its development, the initiative taken over the entire semester, how you engage ideas with the professor and the class, and the rigorous pursuit in your investigation.

ACADEMIC INTEGRITY | RENSSELAER POLYTECHNIC INSTITUTE Intellectual integrity and credibility are the foundation of all academic work. A violation of Academic Integrity policy is, by definition, considered a flagrant offense to the educational process. It is taken seriously by students, faculty, and Rensselaer and will be addressed in an effective manner. If found responsible for committing academic dishonesty, a student may be subject to one or both types of penalties: an academic (grade) penalty administered by the professor and/or disciplinary action through the Rensselaer judicial process described in this handbook. Academic dishonesty is a violation of the Grounds for Disciplinary Action as described in this handbook. A student may be subject to any of the following types of disciplinary action should disciplinary action be pursued by the professor: disciplinary warning, disciplinary probation, disciplinary suspension, expulsion and/or alternative actions as agreed on by the student and hearing officer. It should be noted that no student who allegedly commits academic dishonesty will be able to drop or change the grade option for the course in question.

A record of disciplinary action is permanently maintained by the Institute as noted below: RECORD OF DISCIPLINARY ACTION (2014-2016 Rensselaer Handbook of Student Rights & Responsibilities, August 2014, p. 15) Any disciplinary action can be disclosed to federal, state or local government entity, law enforcement, licensing or certification board, or corporate entity upon request of said agency if and only if: (a) by subpoena or (b) a student signs a confidentiality waiver for said agency or government entity.

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RENSSELAER POLYTECHNIC INSTITUTE | SCHOOL OF ARCHITECTURE | FALL 2016 | VERTICAL DESIGN STUDIO | STUDIO CRITIC | LYDIA KALLIPOLITI | e: kallil@rpi.edu

The definitions and examples presented below are a sampling of types of academic dishonesty and are not to be construed as an exhaustive or exclusive list. The academic integrity policy applies to all students, undergraduate and graduate, and to scholarly pursuits and research. Additionally, attempts to commit academic dishonesty or to assist in the commission or attempt of such an act are also violations of this policy.

Academic Fraud: The alteration of documentation relating to the grading process. For example, changing exam solutions to negotiate for a higher grade or tampering with an instructor’s grade book.

Collaboration: Knowingly facilitating and/or contributing to an act of academic dishonesty. For example, allowing another student to observe an exam paper or allowing another student to “recycle” one’s old term paper or using another’s work in a paper or lab report without giving appropriate attribution.

Copying: Obtaining information pertaining to a graded exercise by deliberately observing the paper of another student. For example, noting which alternative a neighboring student has circled on a multiplechoice exam.

Plagiarism: Representing the work or words of another as one’s own through the omission of acknowledgment or reference. For example, using sentences verbatim from a published source in a term paper without appropriate referencing, or presenting as one’s own the detailed argument of a published source, or presenting as one’s own electronically or digitally enhanced graphic representations from any form of media.

Cribbing: Use or attempted use of prohibited materials, information, or study aids in an academic exercise.

For example, using an unauthorized formal sheet during an exam.

Fabrication: Unauthorized falsification or invention of any information in an academic exercise. For example, use of “bought” or “ready-made” term papers, or falsifying lab records or reports.

Sabotage: Destruction of another student’s work. For example, destroying a model, lab experiment, computer program, or term paper developed by another student.

Substitution: Utilizing a proxy, or acting as a proxy, in any academic exercise. For example, taking an exam for another student or having a homework assignment done by someone else.

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RENSSELAER POLYTECHNIC INSTITUTE | SCHOOL OF ARCHITECTURE | FALL 2016 | VERTICAL DESIGN STUDIO | STUDIO CRITIC | LYDIA KALLIPOLITI | e: kallil@rpi.edu

BIBLIOGRAPHY Gregory Bateson, “The Roots of Ecological Crisis.” In Bateson, Steps to an Ecology of Mind: Collected Essays in Anthropology, Psychiatry, Evolution, and Epistemology (San Francisco, CA: Chandler Publ. Co., 1972), pp. 496-501.

Stewart Brand (Ed.), The Whole Earth Catalog Series, Menlo Park, CA: Portola Institute, a non-profit educational corporation, 1968-1972.

Stewart Brand (Ed.), The Essential Whole Earth Catalog: Access to Tools and Ideas. Garden City, NY: Doubleday, 1986.

Stewart Brand, “How to Do a Whole Earth Catalog.” In Last Whole Earth Catalog, 435-41.

Stewart Brand, II Cybernetic Frontiers (New York: Random House, 1974).

Stewart Brand (Ed.), The Next Whole Earth Catalog: Access to Tools, Sausalito, CA: Point Foundation, 1980.

Jane Bennett, Vibrant Matter A Political Ecology of Things (Durham: Duke University Press, 2010).

Paul. J. Crutzen and Eugene F. Stoermer, “The Anthropocene,” Global Change Newsletter 41 (May 2000): 17-18.

Freeman Dyson Takes on the Climate Establishment, Interviewed by Michael d. Lemonick, Yale Environment 360 (June 04, 2009). Retrieved from HTTP://E360.YALE.EDU/CONTENT/FEATURE.MSP?ID=2151 on August 30, 2016.

Jane Bennet, “Powers of the Hoard: Further Notes on Material Agency” in Cohen, Jeffrey Jerome (Ed), Animal, Vegetable, Mineral: Ethics and Objects (Washington, DC: Oliphaunt Books, 2012), pp.237-272.

Donna Haraway, “Anthropocene, Capitalocene, Plantationocene, Environmental Humanities, Vol. 6, 2015, pp. 159-165.

Chthulucene:

Making

Kin”

in

Shannon Mattern, “Cloud and Field: On the resurgence of “field guides” in a networked age,” Places Journal (August 2016). Retrieved from https://placesjournal.org/article/cloud-and-field/ Benjamin Bratton, “The Black Stack”, e-flux (2014). Retrieved from http://www.e-flux.com/journal/theblack-stack/ Michelle Addington, “Sustainable Situationism,” Log, No. 17 (Fall 2009), pp. 77-8. Retrieved from http://www.jstor.org/stable/41765639 Anab Jain and Jon Ardern, “OWNING THE SKY; An invisible architecture of civilian drones,” ARPA Journal, Issue 04, Instruments of Service (May 2, 2016). Retrieved from http://www.arpajournal.net/owning-thesky/ Optional: Andrew Ross, Strange Weather: Culture, Science and Technology in the Age of Limits (New York: Verso, 1991).

John Urry, Climate Change and Society (Cambridge, U.K: Polity Press, 2011), pp.122-154.

Elizabeth Colbert, “The Climate of Man I” in The New Yorker (March 25, 2005), posted on March 18, 2005.

Andrew Kirk, Counterculture Green: The Whole Earth Catalog and American Environmentalism. (Lawrence, Kansas: University Press of Kansas, 2007).

Jane Bennett, Vibrant Matter A Political Ecology of Things (Durham: Duke University Press, 2010).

Paul. J. Crutzen and Eugene F. Stoermer, “The Anthropocene,” Global Change Newsletter 41 (May 2000): 17-18.

Ernst Haeckel. 1866. Generelle Morphologie der Organismen: Allgemeine Grundzüge der Organischen FormenWissenschaft; mechanisch begründet durch die von Charles Darwin reformirte Descendenz-Theorie. G. Reimer. Berlin.

Sim Van der Ryn, and Stewart Cowan. 1996. Ecological Design. Island Press. Washington, D.C.

A Not So Whole Earth Catalog | Vertical Design Studio | Fall 2016 | Kallipoliti

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fly geyser The Time

2016

The Object

CO3 Ca

The Leach

Na Cl SiO Ca K NH3 HBO2 HCO3

1964

SO4

air

1920

water ground

concentration of leach

tailings dam

The Time Failure The Leach Left over mine material High Acidity Metial Ions

Function

The Leach

The Object

SYRACUSE UNIVERSITY | SCHOOL OF ARCHITECTURE | SPRING 2014 | 409 ARCHITECTURE STUDIO | SECTION 004 | STUDIO CRITIC | ASSISTANT PROFESSOR | LYDIA KALLIPOLITI, PhD | office room 308E | e: lydiakal@syr.edu

MIBRROBIALBLOCK

| FEEDBACK MIRCOGRIDS

philip beesley hylozoic ground Hungarian psychoanalyst Sandor Ferenczi argued that shit and money exhibit two sides of the same coin. Shit is ejected from the body and rejected by the psyche, whereas money is introjected by the body and accepted as a highly desired form. Nevertheless both entities derive from the same prime matter in an ongoing recycling process. Ferenczi does not view currency in the form of concrete metallic coins or paper, but rather as a disguise for a sequence of other materials that brought it into existence; in other words, shit undergoes a serial transformation assuming different material states all the way to money. In this sense, materials exist merely in stages, while they absorb qualities from their previous stages: mud is shit deodorized, sand is mud dehydrated, pebbles are sand hardened and coins are pebbles unearthed. This logic of liquefaction and transformation of materials which physically exist only in phases, as well as the logic of converting wasted matter to energy will be vital for the studio.

Congested metropolitan environments like New York City produce massive amounts of waste and sewage that is carried along with rainwater to the Hudson River resulting in high risk of constant flooding. The combination of sewage and rainwater in single infrastructural drainage channels, known as the New York combined sewage system, is one of the most prominent problems of the city, as it constitutes not only a hygienic problem, but

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SYRACUSE UNIVERSITY | SCHOOL OF ARCHITECTURE | SPRING 2014 | 409 ARCHITECTURE STUDIO | SECTION 004 | STUDIO CRITIC | ASSISTANT PROFESSOR | LYDIA KALLIPOLITI, PhD | office room 308E | e: lydiakal@syr.edu also a problem of frequent potential energy blackouts. As was evidenced last year during the aftermath of hurricane Sandy, the disruption of power in New York extended beyond the economic or productive sphere; it permeated every aspect of urban life and created a fundamental rupture with the perception of urban space.

The urban environment is fundamentally a product of its energy as it produces social space. However, as climate change is expected to make such disruptions far more common, this studio will ask students to strategize and invent models for generating energy off the grid and convert waste to energy, based on the principles of distribution and localization we find in natural systems.

The MICROBIAL BLOCK studio will address questions of converting waste to energy through the design of a performing arts community theater that generates its energy off the grid. The community theater will be physically inter-connected (via infrastructural channels and feedback systems) to a series of micro-housing pilot units, which are equipped with a series of convergence machines to recycle waste to energy. Microbial fuel units, anaerobic digesters, bacteria tanks, green cultivations, algae units and other building elements will be retrofitted to the micro-housing units and the building block as a whole to not only function as engineering infrastructure, but also as inhabitable space. What are the aesthetic questions of infrastructure and how can such questions be instrumentalized to foster a creative design process? How can as we think of machines as inhabitable living systems and not as functional components performing an exclusive operation? The MICROBIAL BLOCK will incorporate a community performing arts center on single site of the block and a series of micro-housing units as energy self-sufficient laboratories dispersed in the block. Each student will need to develop their own scheme –one building and distributed housing units plus infrastructure- for the block as a whole. The micro-housing units will be subsidized by the city, for inhabitants who will operate living laboratories generating energy off-the grid and consequently feed this energy to the performing arts center.

The site is located in the east village of New York City within the context of the theater district south of the Cooper Union campus. The selected block is the ideal location for investigating the convergence of social with infrastructural and environmental concerns as it ultimately is a place of a strong community coop and is currently being developed as a pilot sustainable block for New York by the 4th arts block. The block is a mediator; it is a building for organization, access, flow of materials, ideas and people. In the studio, students will be asked to analyze the block and their buildings as mediators of environmental flows, as well as material and activity flows. How can the center convert matter to energy and provide simultaneously a vital space for the community? The MICROBIAL BLOCK studio will require students to develop an ideological as well as a materialist position recycling and to carry this position through the design of the building. We will proceed through a series of exercises from the micro-scale, investigating material conversions, to the macro-scale, investigating the dynamics of urban exchange and environmental flows. From the micro to the macro, the MICROBIAL BLOCK will be investigated as the meeting point arbitrating between the small and the large.

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SYRACUSE UNIVERSITY | SCHOOL OF ARCHITECTURE | SPRING 2014 | 409 ARCHITECTURE STUDIO | SECTION 004 | STUDIO CRITIC | ASSISTANT PROFESSOR | LYDIA KALLIPOLITI, PhD | office room 308E | e: lydiakal@syr.edu MICROBIAL BLOCK will examine a recirculatory understanding of the world and its resources and will hint towards a new opportunistic ‘materiality’ that unavoidably becomes a requisite part of our discipline. Recycling is commonly referenced in regards to material systems. In this studio, however, we will explore in parallel ideas of recycling is an ideational and philosophical system of viewing the world of ideas, information and matter as flow rather than as the accumulation of discrete objects. More than a material system, recycling signals the migration of life through the conversion of one thing to another.

MICROBIAL BLOCK

Philips Microbial Home Project: http://www.youtube.com/watch?v=dM 0WYdkKlu8 http://www.design.philips.com/about/ design/designportfolio/design_futures /microbial_home.page

Relevant Practices on Living Machines: http://www.ecologicstudio.com/v2/ind ex.php http://www.philipbeesleyarchitect.com http://www.mathieulehanneur.fr/

Books: Marcos Cruz and Steve Pike (Eds), Neoplasmatic Design, Architectural Design AD (December 2008).

C.J/ Lim, Devices: A Manual of Architectural + Spatial Machines (Elsevier, 2006)

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SYRACUSE UNIVERSITY | SCHOOL OF ARCHITECTURE | SPRING 2014 | 409 ARCHITECTURE STUDIO | SECTION 004 | STUDIO CRITIC | ASSISTANT PROFESSOR | LYDIA KALLIPOLITI, PhD | office room 308E | e: lydiakal@syr.edu

MICROBIAL BLOCK| SITE LOCATION: EAST VILLAGE, 4

TH

STREET, NEW YORK CITY

Before Broadway was "Broadway," the Theater District was on the Lower East Side. Straddling the Vaudeville and Yiddish theaters of 2nd Avenue and the dance halls and saloons of the Bowery, E. 4th has literally been at the center of New York City arts & culture since the early 19th century. Today East 4th Street between 2nd Ave and Bowery is home to more than a dozen arts groups, 12 theaters, 8 dance & rehearsal studios, 3 film editing suites and 1 screening room. The E. 4th Street is a microcosm of a neighborhood zeitgeist which is constantly evolving and innovating. From German benevolent societies, Jewish performance venues and Ukrainian labor unions to prohibition-era speakeasies, drag cabaret and legendary experimental theaters -- E. 4th Street has been the epicenter of social and political life on the Lower East Side for over 150 years.

This street was laid out early in the 19th century over what was once the very SW border of Peter Stuyvesant's farm. Most of the buildings we see now were built between the 1850s and 90s specifically to house meeting halls on the lower floors with residential space on the upper floors. Many of these buildings' upper floors served as boarding houses during that time period. In the 1930s and 40s, businesses and factories moved in to take advantage of the buildings' large open spaces. Many of these buildings interiors have been renovated several times over the years.

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SYRACUSE UNIVERSITY | SCHOOL OF ARCHITECTURE | SPRING 2014 | 409 ARCHITECTURE STUDIO | SECTION 004 | STUDIO CRITIC | ASSISTANT PROFESSOR | LYDIA KALLIPOLITI, PhD | office room 308E | e: lydiakal@syr.edu In the late 1950s, Robert Moses' plans to raze the area were halted by neighborhood protest led by the Cooper Square Committee. Buildings cleared through eminent domain sat unused until La MaMa secured a 30-day lease from the City, and the new Off-Broadway movement took off. Gradually other small groups moved in, and the block developed into a nationally recognized incubator for New York and diverse artistic voices. By the 1980s, theatrical and cultural organizations had taken over many of the abandoned buildings, rejuvenating the artistic and social spirit of the block.

Today, the 4th street building block is a neighborhood environmental initiative that builds an experimental, interconnected, action-learning community and a pilot sustainable urban block around the E. 4th St Cultural District. The building block is currently used as an experimental laboratory for diverse research proposals and actions, including ‘hard research’ –energy assessments, management of resources and the building stock- as well as ‘soft actions’ -community initiatives, art projects and communication strategies. The interplay of the hard and the soft research model is crucial to the approach of this studio as it may inspire a variety of stakeholders across different disciplinary fields.

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SYRACUSE UNIVERSITY | SCHOOL OF ARCHITECTURE | SPRING 2014 | 409 ARCHITECTURE STUDIO | SECTION 004 | STUDIO CRITIC | ASSISTANT PROFESSOR | LYDIA KALLIPOLITI, PhD | office room 308E | e: lydiakal@syr.edu In the studio, we will operate simultaneously at three different scales; the occupancy unit, the scale of the building and the scale of the block. Crossing these scales allows us to develop an interconnected understanding of physical resources and living patterns. Processes of reuse and regeneration are critical to examining the ecology of the block as a simultaneous crossing of different scales. Reused waste from buildings can potentially be transformed to vital elements of street life. Retrofitting windows in individual units can diminish heat loss and make a difference in the energy profile of an entire building. Our methodology is concerned with capturing and enabling these interactions.

Our site is the north-east corner of the block (replacing the current building which is to be demolished), along with free sections of the block for housing units. Housing may be attached to existing buildings on blind wall, fabricated on top of existing buildings in compliance with the FAR, retrofitted within the existing buildings, or built in the free sections of the block. You will need to develop an interconnected scheme for the block after examining the block’s energy capital.

STUDIO SPIRIT An ideal studio environment is one where students learn as much if not more from their classmates as they do from their instructor, offering insight and critique to one another and feeling engaged in each other's work and ideas. There are two ingredients that allow this to happen: first, the ability to absorb the discussions happening around you during studio time, in particular desk crits. This means avoiding random browsing, social networking, the watching of movies or television or any other activity that is a distraction from studio time. The second ingredient is students’ presence at all pin-ups and reviews (unless there are medical or other urgent condition). Assignment pinups are scheduled with the goal to expose each student to the multiple ways of approaching architecture and design throughout the semester. Pinups are critical to your learning experience and will be treated as such by your instructor. Please make sure to arrive timely with all deliverables at all pinups unless unforeseen circumstances arise once throughout the semester.

Deliverables and instructions for each assignment will be handed to you on the date of each pinup.

Please feel free to contact me any time with questions or concerns at lydiakal@syr.edu

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SYRACUSE UNIVERSITY | SCHOOL OF ARCHITECTURE | SPRING 2014 | 409 ARCHITECTURE STUDIO | SECTION 004 | STUDIO CRITIC | ASSISTANT PROFESSOR | LYDIA KALLIPOLITI, PhD | office room 308E | e: lydiakal@syr.edu

MICROBIAL BLOCK | S C H E D U L E Friday 01/24: 1-2pm working tech session in the computer lab-link will be provided/ 2-3 Studio presentations by Anda French and Larry Bowne at Slocum Auditorium/ 3-5 desk crits

ASSIGNMENT 1 |INHABITABLE MICROBIAL MACHINE: PINUP 01/30 [1-5pm at TBD Slocum Hall] Friday 01/31: 1-2 Studio presentations by Brian Lonsway and Mauricio Bertet at Slocum Auditorium/ 2-5 desk crits Tuesday 02/04: No class-thesis reviews/ working tech session in studio link will be provided

NEW YORK FIELD TRIP Thursday 02/06: no class/ studio travels to NYC Guided Tour in New York begins on 02/07 at 9am and ends on 02/ 08 at 4pm ASSIGNMENT 2 |MICROGRID BLOCK/ ENERGY CAPITAL: PINUP 02/13 [1-5pm at TBD Slocum Hall] Friday 02/14: 1-2:30pm Studio presentations by Bruce Coleman, Bruce Abbey and Lydia Kallipoliti at Slocum Auditorium/ 2:30-5:00 desk crits

ASSIGNMENT 3 |MICROBIAL theater: PINUP 02/20 [1-5pm at TBD Slocum Hall] MIDTERM REVIEW WITH INVITED JURY: FRIDAY 03/07 [1-5PM @ 4th floor Atrium SLOCUM HALL] SPRING BREAK: 03/11- 03/14 ASSIGNMENT 4 | VOLUME/ FORM PHYSICAL BLOCK MODEL PINUP 03/25 [1-5pm at TBD Slocum Hall] Tuesday 04/01: Working session/ Instructor lecturing at Yale University Thursday 04/03: No class-thesis reviews/ working tech session in studio link will be provided

ASSIGNMENT 5 | PROGRAM EXPLODED AXONOMETRIC AND CIRCULATION & SECTION: PINUP 04/03 [1-5pm at TBD Slocum Hall] Thursday 04/10- Friday 04/11: working session/ instructor lecturing at the annual SAH and ACSA conferences in Austin and Miami

ASSIGNMENT 6 | ENVELOPE/LANDFORM STUDY & ENVELOPE PROTOTYPE: PINUP 04/15 [1-5pm at room TBD] PRE-FINAL REVIEW |PLANS, SECTIONS, ELEVATIONS: PINUP 04/22 [1-5pm at TBD Slocum Hall] FINAL REVIEW WITH INVITED JURY: 04/25

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SYRACUSE UNIVERSITY | SCHOOL OF ARCHITECTURE | SPRING 2014 | 409 ARCHITECTURE STUDIO | SECTION 004 | STUDIO CRITIC | ASSISTANT PROFESSOR | LYDIA KALLIPOLITI, PhD | office room 308E | e: lydiakal@syr.edu

MIBRROBIALBLOCK | FEEDBACK MIRCOGRIDS ASSIGNMENT 1 | inhabitable mircrobial machine

Measure allows us to understand relations; our body in relation to the environment, the proximity of objects, an individual’s biometric imprint, the thickness of walls and vulnerability to weather. You are asked to design an inhabitable living machine that converts domestic sewage –output- into useful energy –input. Your architectural prototype should incorporate water chambers with organic life, which you need to feed, nourish and steward, as if you have a pet! We will begin our investigation with physical and material experimentation in a micro-scale and develop abstract machines/ chambers that regulate different convergence processes. At the same time, the chambers should be tectonically structured in ways that facilitate interdependent relationships with the organic species that inhabit them. We will examine a diverse body of engineering techniques translated as design tools and develop strategies for processing sewage and rubbish as a form of interaction with organic life.

Each group of students will research a particular conversion process in order to construct a machine that receives input and produces output. The intention of the physical experimentation aims not only to resolve technical problems, but also to develop compelling architectural and design strategies and to address filtration, reprocessing and conversion as integral functional and programmatic parts of the proposals developed for the block’s program.

MICROBIAL Block ||||| Feedback Microgrids ||||| Energy-generating Theater and housing community in New York City page| 1

SYRACUSE UNIVERSITY | SCHOOL OF ARCHITECTURE | SPRING 2014 | 409 ARCHITECTURE STUDIO | SECTION 004 | STUDIO CRITIC | ASSISTANT PROFESSOR | LYDIA KALLIPOLITI, PhD | office room 308E | e: lydiakal@syr.edu Each abstract machine chamber will perform a process of regulating material flows. Here are some examples: FILTRATION: How do we filter and purify water with nets and surfaces to eliminate pollution and collect floating objects?

ACCRETION: How do we instrumentalize processes of sedimentation and accrete particulate matter? How do we introduce electricity, biorock or other techniques and materials in order to catalyze the accretion of particulate matter?

CARVING AND BRANCHING: How does water carve and form micro-territories through the branching of smaller flows and the migration of soil from one location to the other?

FLOW CONTROL AND STORAGE: How do we store water in containers and regulate its distribution in different time periods? How can we use damns and hydraulic structures in order to foster the growth of a species and/or generate electrical currency?

The studio encourages the use of diverse design strategies aimed not only towards the function of the machine, but also towards the spatial implications that the machine reveals. The scope of this assignment is to integrate organic and inorganic parts -- plant life next to digitally fabricated components-- as spatial systems.

Your chambers do not need to be perfected as technical systems, but to work as experimental prototypes that could later be used in the development of your proposal for the entirety of the block. Your prototypes should combine technical data with experimentation in form and space, especially as related to systems already existing in the site for local cultivation and food production.

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SYRACUSE UNIVERSITY | SCHOOL OF ARCHITECTURE | SPRING 2014 | 409 ARCHITECTURE STUDIO | SECTION 004 | STUDIO CRITIC | ASSISTANT PROFESSOR | LYDIA KALLIPOLITI, PhD | office room 308E | e: lydiakal@syr.edu Questions to be addressed in the research and the prototypes: PHYSICAL INVESTIGATION: HOW DO WE CONNECT TUBES, SURFACES, INTRODUCE VESSELS/ HANDLE FORM? VISUALIZATION: HOW DO WE CREATE VISUAL EFFECTS OUT OF WATER PROCESSNG SYSTEMS AND VISUALIZE PHENOMENA THAT TAKE PLACE IN A MICRO-SCALE? MECHANICAL INVESTIGATION: HOW DO WE STORE AND CONTAIN WATER? HOW DO WE CONTROL AND REGULATE ITS FLOW AND RATE? ELECTROSTATIC CONTROL: HOW DO WE USE ELECTRICITY AND ENERGY TO CONTROL ACCUMULATION OF MATTER AND GROWTH? CHEMICAL PROCESSES: HOW DO WE SEPARATE SUBSTANCES AND USE COMPONENTS TO PRODUCE NEW SUBSTANCES? Your INHABITABLE MICROBIAL MACHINE should contribute to an “off the grid” self-sufficient environment.

Consider for example microbial fuel cells generating electricity by using bacteria as catalysts on the anode to oxidize organic matter and transfer the resultant electrons onto a circuit. The main purpose of the machine is to mediate material flows and thus generate electricity, while at the same time offering a creative synthetic environment that fosters different daily practices of working, eating, napping, and exercising. The machine should be a highly specified designed environment which fosters alternative living patterns.

You will all work in teams of two.

SCHEDULE | ASSIGNMENT 1 | Friday 01/17: Individual (team) critiques/ Location Studio Tuesday 01/21: Individual (team) critiques/ Location Studio Thursday 01/23: Individual (team) critiques/ Location Studio Friday 01/24: 1-2pm working tech session in the computer lab-link will be provided/ 2-3 Studio presentations

by Anda French and Larry Bowne at Slocum Auditorium/ 3-5 desk crits Friday 01/28: Individual (team) critiques/ Location Studio DEADLINE | PINUP OF ASSIGNMENT 1 | THURSDAY JANUARY 30TH: 1PM-5PM / Location TBD Slocum Hall DELIVERABLES - Two landscape 24” x 36” drawings: a) The first board should include drawings of the machine’s workings including a corresponding plan and largescale section (layers can overlap, horizontal, radial, vertical) b) The second board should present methodical documentation of your material experimentation. You should all photograph your models in close scale and combine the photographic material with measurements and ideas for material systems to be used in the cell.

- One material prototype experimenting with techniques of water capturing, de-pollution, air filtering, excrement recycling, moisture absorption et-al. The machine should include 3d printed and laser cut parts with found hardware and your own design components.

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SYRACUSE UNIVERSITY | SCHOOL OF ARCHITECTURE | SPRING 2014 | 409 ARCHITECTURE STUDIO | SECTION 004 | STUDIO CRITIC | ASSISTANT PROFESSOR | LYDIA KALLIPOLITI, PhD | office room 308E | e: lydiakal@syr.edu

MIBRROBIALBLOCK | FEEDBACK MIRCOGRIDS ASSIGNMENT 2 | mircrobial block syntax

This assignment will be focused on the macro-scale of the urban block as a whole and the way in which the regenerative machines developed in assignment 1 can be re-invented to address conversions in a larger scale.

The specificity of the site, the formal syntax of the block, as well as the programmatic and community activities of the block will be introduced into the conversation. How can we think of an urban block as a microcosm of the city? How can we address material and programmatic flows and their re-cycling to potentially contribute to an alternative urban form and material syntax?

Assignment 2 need operate simultaneously at three different scales; the occupancy unit, the scale of the building and the scale of the block. Crossing these scales will allow us to develop an interconnected understanding of physical resources and living patterns. Processes of reuse and regeneration are critical to examining the ecology of the block as a simultaneous crossing of different scales. Reused waste from buildings can potentially be transformed to vital elements of street life. Retrofitting windows in individual units can diminish heat loss and make a difference in the energy profile of an entire building. Our scope will be to observe, enable and design these interactions.

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SYRACUSE UNIVERSITY | SCHOOL OF ARCHITECTURE | SPRING 2014 | 409 ARCHITECTURE STUDIO | SECTION 004 | STUDIO CRITIC | ASSISTANT PROFESSOR | LYDIA KALLIPOLITI, PhD | office room 308E | e: lydiakal@syr.edu Each group will be required to re-invent their regenerative machines and to use them as prototypes or DNA units that propagate in a larger scale. Propagation does not necessarily mean repetition and seriality; it may be translated as expansion, stretching, fractal behavior and or nesting in different scales through the use of diverse design techniques. Students should devise strategies for the occupation of the block’s territory in relationship to the volumetric conditions of the block, the seasons, the microclimates, local conditions, pints of sewage disposal etc. Students are requested to provide the assemblage of their prototype and its application to a larger scale as well as consequent network of connections. The prototype will be proliferated, mutated while migrating to different locations.

Propagation and collective behavior can be thought with different design tools.

Swarm systems [How to use the main characteristics of a swarm system, separation, cohesion and alignment in order to control the assemblage of your units] Fractal behavior and recursion [How you can work with generations and dynamically growing systems where new elements are added to the “container”] Fluid dynamics that affect objects [How fluid movements and water particles’ vectors can affect your units and their subcomponents that may vary from soft to rigid bodies].

Agent systems [How objects with specific set of behavioral properties carry information and affect the behavior of their neighbors] SCHEDULE | ASSIGNMENT 2 | Tuesday 02/04: No studio* Thesis reviews / Individual (team) critiques by appointment only Thursday 02/06: No studio* Studio travels to New York for field trip Friday 02/07: No studio* Studio field trip in New York/ Possibility for individual (team) critiques in the NY Syracuse Fisher Center, schedule TBD Tuesday 02/11: Individual (team) critiques/ Location Studio DEADLINE | PINUP OF ASSIGNMENT 2 | THURSDAY JANUARY 13TH: 1PM-5PM / Location 307 Slocum Hall DELIVERABLES - Two landscape 24” x 36” drawings.

Both boards should be scaled to 1/8’ and include only vector line drawings and one color. a) The first board be a plan of the block and documenting your overall conversion scheme, the different organizations, interconnections and programmatic affiliations with the machines. Feel free to include other additional explanatory drawings and images on a smaller scale substantiating on the overall block syntax. b) The second board should be an axonometric of the block composition, either exploded or composed.

Feel free to include other additional explanatory drawings and images on a smaller scale substantiating on the overall block syntax.

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SYRACUSE UNIVERSITY | SCHOOL OF ARCHITECTURE | SPRING 2014 | 409 ARCHITECTURE STUDIO | SECTION 004 | STUDIO CRITIC | ASSISTANT PROFESSOR | LYDIA KALLIPOLITI, PhD | office room 308E | e: lydiakal@syr.edu

MIBRROBIALBLOCK ASSIGNMENT 3 |

| FEEDBACK MIRCOGRIDS

envirotheater

This assignment will require you to design a part of your building, an environmental performing arts and community space. You are asked to design a theater, which not only operates on its own energy system by converging resources, but also engages the audience in a number of activities related to energy generation as part of the theater’s program. As in your previous assignments, you will need to identify a stream of waste – sewage, air, matter et-al- and process the output in order to generate useful input for the building and for the block. This technical requirement will be undivided from the intention is to create a vibrant community space, which offers an alternative performing arts space relative to audience participation. The division between actors and audience might be questioned and redefined. Designing the program and the scenario of the theater will be part of this assignment.

Try to imagine this space as one layer and system of your building, either designed in a linear wall format, an urban plaza negotiating the figure-ground condition, pockets of space distributed in different heights of the selected site and other possibilities.

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SYRACUSE UNIVERSITY | SCHOOL OF ARCHITECTURE | SPRING 2014 | 409 ARCHITECTURE STUDIO | SECTION 004 | STUDIO CRITIC | ASSISTANT PROFESSOR | LYDIA KALLIPOLITI, PhD | office room 308E | e: lydiakal@syr.edu SCHEDULE | ASSIGNMENT 3 | Tuesday 02/18: Individual (team) critiques/ Location Studio DEADLINE | PINUP OF ASSIGNMENT 3 | THURSDAY JANUARY 28TH: 1PM-5PM / Location 307 Slocum Hall DELIVERABLES - One landscape 24” x 36” board including: -

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A large 3d rendering (adjusted and worked thoroughly in photoshop) or vector axonometric (exploded) of the theater space you imagine, produced by the combination of audience participation and the convergence machines.

A diagram of your programming scenario for your environmental theater. In this diagram, you should include the lifecycle and schedule of the theater, the program breakdown relative to the function of the energy generation machinic components and the atmosphere of the space. Devise a scenario of a potential participant that visits the theater, his/her profile and create a diagram that illustrates the operation of your environmental theater.

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SYRACUSE UNIVERSITY | SCHOOL OF ARCHITECTURE | SPRING 2014 | 409 ARCHITECTURE STUDIO | SECTION 004 | STUDIO CRITIC | ASSISTANT PROFESSOR | LYDIA KALLIPOLITI, PhD | office room 308E | e: lydiakal@syr.edu

MIBRROBIALBLOCK

| FEEDBACK MIRCOGRIDS

ASSIGNMENT 4 |organization

schemes: mass + program

This assignment will require you to investigate multiple schemes of massing in relation to conditions of site.

You are asked to build 3-5 or more models, each different, for the exterior design of your building and the ways in which it interacts with the urban context.

How can your energy-generating community theater serve as a public interface in the city? How can it address the urban condition as a building that acknowledges its public mission? The environmental performing arts center can serve as an anchor for community identity and in transitioning neighborhoods, an opportunity to define a public character. In addition to this condition, there is also the necessity for a significant amount of the program to generate energy, process waste and to create spaces of interaction with the environmental

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SYRACUSE UNIVERSITY | SCHOOL OF ARCHITECTURE | SPRING 2014 | 409 ARCHITECTURE STUDIO | SECTION 004 | STUDIO CRITIC | ASSISTANT PROFESSOR | LYDIA KALLIPOLITI, PhD | office room 308E | e: lydiakal@syr.edu function of the building including processing labs, art studios, smaller spaces for community work, and public spaces of archival, creative interaction, and display. Some of these facilities are often removed from public access, and have strict requirements regarding odors, toxic levels and environmental hazards. Thus our environmental art center should position itself in the paradoxical situation of opening itself to the city, while limiting access to certain parts of its program.

Program, Site, Material and Tectonic are crucial elements in the development of architectural form and the means by which they structure human environments and relationships. Program is both the reality of functional use, and the scenarios of imagined narratives. An architectural site consists of an urban context or a condition of landscape, and the cultural understandings that influence the reception of a built intervention. Material, which may seem straightforward, real and direct, contains questions regarding the status of nature, artifice, and craft. The tectonic idea and the articulation of a building’s assembly is never as simple as revealing the construction and is often as much about what is concealed as it is about what is revealed. Further, the meanings of these terms are no longer the same today as they were a century ago. The understanding of the role and influence of these issues on architectural design is fundamental.

This phase of the project asks each of you to define a position regarding the relationship between the site and the building’s exterior mass and articulation. As teams or individuals you will produce 3-5 different massing schemes in scale 1/16’ for the site that you are working with. Each model scheme should test a different idea that you are working with from the position of the site conditions. Drawings and diagrams present an opportunity to explore diagrammatic relations with different variables that create the extended context of the site.

IMPORTANT NOTE: The entire studio as a group will be required to construct a shared site model of the immediate context surrounding the site in scale 1/16’. As a group you will also produce a shared data file containing site base drawings, site photographs, climatic data, circulation information, current programmatic adjacencies, and historical development. Please lasercut all elevations and create the site model in as much detail as possible including façade elevations etc. Each massing model from each team or individual will need to be placed in the group site model. This model will be our final studio site model.

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SYRACUSE UNIVERSITY | SCHOOL OF ARCHITECTURE | SPRING 2014 | 409 ARCHITECTURE STUDIO | SECTION 004 | STUDIO CRITIC | ASSISTANT PROFESSOR | LYDIA KALLIPOLITI, PhD | office room 308E | e: lydiakal@syr.edu SCHEDULE | ASSIGNMENT 4 + MIDTERM REVIEW| Friday 02/21: *Working session on assembling the site model Tuesday 02/25: 1:30-4:30pm - Individual (team) critiques/ Studio Location Thursday 02/27: Individual (team) critiques/ Studio Location Friday 02/28: Group discussion with faculty search candidate Michael Ezban Pinup of 1/16’ models/ Location: Slocum 307 All teams should have 5 massing model versions in scale 1/16’’ to be positioned in the site model Tuesday 03/04: Individual (team) critiques/ Studio Location Thursday 03/06: Individual (team) critiques/ Studio Location DEADLINE | STUDIO MIDTERM REVIEW | FRIDAY MARCH 7: 2-6PM / Location: 4th floor Atrium West Guest Critics: Joyce Hwang (University of Buffalo), Liss Werner (Faculty Search Candidate/ AEDES Berlin), Andreas Theodoridis (Pratt Institute) SU Faculty: Anda French, Sekou Cook, Martin Haettasch DELIVERABLES Group discussion on 02/28: One group site model for the studio in scale 1/16’.

- Each student team should present 5 volume massing models to be placed in the site experimenting on different ideas and ways of interacting with the urban context. Please experiment with different materials (do not only use blue foam!). Consider carving from wax, soap or plaster to create the volume and inserting in some voids other parts; also alternatively consider wood carving, milling, plexi laser cut stacking, and other mediums. For this assignment, subtractive techniques might be more productive than trying to devise a scheme of your project with cardboard.

Midterm review on 03/07: PRINTED: You should all have 6 boards 24''x36''. Select the best drawings according to the critiques of the pinups and revise the boards.

As a guideline, you should prepare 1-2 revised boards of your machine, 1 board of the block analysis, 1 board of the envirotheater and 2-3 boards explaining your proposed building -including a detailed section in scale 1/8’, plans, axonometric and illustrations; you may also use diagrams explaining massing and program.

MODELS: You should have your 5 massing models, the revised version of your machine in a prototype and a new model in scale 1/8’.

In the review, please make a brief statement about your project starting with your project thesis. Do not start analyzing what you did first and then what you did second etc. in chronological order. State your concept, your goals, your program, the establishment of a relationship with the site, your position on what a regenerative performing art center should do and why it is important for contemporary urban environments. We can rehearse your oral presentation in studio the day before the review.

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GSAPP SPRING 2013 | CORE ARCHITECTURE STUDIO II SECTION 004 | STUDIO CRITIC: LYDIA KALLIPOLITI

SLAGBANK

| RECYCLING SHIT TO MONEY||||||||

Hungarian psychoanalyst Sandor Ferenczi argued that shit and money exhibit two sides of the same coin. Shit is ejected from the body and rejected by the psyche, whereas money is introjected by the body and accepted as a highly desired form. Nevertheless both entities derive from the same prime matter in an ongoing recycling process. Ferenczi does not view currency in the form of concrete metallic coins or paper, but rather as a disguise for a sequence of other materials that brought it into existence; in other words, shit undergoes a serial transformation assuming different material states all the way to money. In this sense, materials exist merely in stages, while they absorb qualities from their previous stages: mud is shit deodorized, sand is mud dehydrated, pebbles are sand hardened and coins are pebbles unearthed.

The affinity between money and shit, between capital and excrement, has been a pervasive subject of historical investigation. Roman Emperor Vespasian invented the phrase Pecunia Non Olet [Money Does Not Smell] to explain the taxation for the usage of public urinals, in order to expurgate the dishonorable act of defecation. From the experimental processes of alchemists, to Freud’s anal-sadistic phase in the individual’s psychosexual development, recycling shit to money is as much a subject of theoretical analysis as a factual constituent of capitalist production. Waste needs to go away; and this very process of purging, transporting and carrying into oblivion all that is worthless is utterly profitable. Money is dehydrated filth made to shine.

SLAG BANK ||||| Recycling Shit to Money

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GSAPP Columbia University CORE ARCHITECTURE STUDIO II Spring 2013 Amale Andraos/Mark Rakatansky co-coordinators Section 001: Lydia Kallipoliti Section 002: Mark Rakatansky Section 003: William Arbizu Section 004: Mabel O. Wilson Section 005: Lindy Roy Section 006: Cristina Goberna Section 007: Christoph a. Kumpusch Section 008: Karla Rothstein THE SOCIAL NETWORK BANK Banks: a continuously evolving type.

In a recent interview following the completion of OMA’s Rothschild Bank Headquarters in London, Rem Koolhaas contrasts his approach to the design of a bank with his usual interest in program re-invention. Likening the banking system to that of the entertainment industry, Koolhaas points to the bank’s state of “permanent redefinition,” and compares it to a dynamic system, which introduced throughout the design of the Rothschild HQ “totally different organizations, hierarchies and components.” 1 As a result, the main strategies for the building became, according to Koolhaas, its relationship to its immediate context on the one hand – large floor plates providing maximum flexibility in the heart of an almost medieval setting – and on the other, a heavy investment in iconography, with a staging of Rothschild’s family history as builders of a banking empire.

The Classical Fortress In that sense, the new Rothschild headquarters stands within a long tradition of banks relying on Architecture to communicate and build through scale, materiality, iconography and site strategy, new kinds of trust-worthy relationships with their public. With every transformation of the financial system, a new architectural image of the bank emerged. The 18th century bank deployed across America embodied strength and stability and inspired a mix of awe and trust. In New York in particular, the late nineteenth and early twentieth century saw a proliferation of grand bank buildings if of a smaller scale. Savings banks in particular had enlisted architecture to attract a large number of small depositors: one famous example is the Bowery Savings Bank completed in 1893 on the Lower East Side. Built in the heart of a tenement neighborhood of freshly landed immigrants, the bank’s lavish palace-like interiors designed by the prestigious firm of McKim Mead and White offered stained glass ceilings, marble columns and expanse of space projecting power and a safe haven for its new customers to perform their most delicate banking transactions.

The Manufacturers Hanover Trust After the 1929 crash and subsequent depression and with the advent of modernism’s infatuation with steel and glass, combining transparency with the effectiveness of free planning, the bank building was radically transformed. In New York, one of the most beautiful examples is that of SOM’s Manufacturers Hanover Trust bank branch at 510 Fifth Avenue. Completed in 1954, in the heart of midtown

– Manhattan’s financial center at the time - the bank is a compact four story high building that sits like a jewel surrounded by skyscrapers. Rather than projecting power through height, client and architect embraced modernism’s potential to create new effects. Breaking from the long tradition of secrecy and fortress-like historicist buildings, the new bank presented itself as open and completely transparent, with a continuous glass façade revealing the main vault door even from across the street. With its cantilevered second floor and its ‘floating’ escalators combined with department-store like lighting strategies, the bank inspired optimism and trust in the future. Flexibility was built-in even into the tellers’ stations, allowing them to move to better serve the patrons and increase visibility.

Programmatically, the bank set the tone for banks to come: with the first two floors entirely open to the public, it created a lobby in which art was an integral part. The third floor was reserved for administrative offices and the penthouse, for visiting bank managers, important client meetings and conference rooms that doubled up as dining room. Sign of its success, the New York Times reported a week after the branch’s opening that 15,000 people had visited the bank on its first day open (October 1954) and 40,000 by the end of its first week. 2 ‘Fish Bowl’ Suburban Branches Manufacturers Hanover Trust had an immediate effect on bank design. In his Monuments to Money: the Architecture of American Banks, Charles Belfoure quotes the magazine Banking as reporting that the majority of bank buildings built after it “had wide expanses of plate glass just like the ‘well publicized’ Manufacturers Trust Company branch” 3 He quotes: “Bankers of the ‘gold fish bowl’ school of public relations are willing to have their architects fly in the face of century old traditions”. 4 The proliferation of Fish Bowl-like bank branches went hand in hand with the suburbanization of the United States and the popularization of drive-ins, creating stand-alone modernist icons across the country such as Eero Saarinen’s 1954 Irwin Union Bank & Trust in Columbus Indiana, SOM’s 1960 American Trust Company in San Francisco, Charles Wyoming’s 1962 Wyoming National Bank, and SOM’s 1963 Great Western Savings and Loans in Gardena, California.

Headquarter Buildings Another result of the Manufacturers Hanover Trust’s success is David Rockefeller’s commissioning of Bunshaft and SOM to design One Chase Manhattan Plaza. In contrast to the numerous corporations who had moved mid and uptown, One Chase Manhattan Plaza reinstated the Financial District’s importance and centrality.

Completed in 1961, the 60 stories skyscraper substituted reflective mirror-like glass surfaces to the transparency of the Manufacturers Hanover Trust bank building, becoming simultaneously an icon of the International Style as well as embodying the financial power of Wall Street. The iconic skyscraper as image of the bank has proliferated since, giving us some the best known monuments to money, from Foster and Partners’ Honk Kong and Shanghai Bank (1986), to the Bank of China Tower by I.M. Pei (1990) or Bunshaft’s National Commercial Bank in Jeddah (1983).

Much has been written about this architecture of vertiginous atriums and endlessly reflective surfaces as mirroring the endless flows of late capital and global finances, from Frederic Jameson 5 to more recently Reinhold Martin. 6 Today, the signature bank headquarters building persists as an indispensible part of a bank’s brand identity and the establishment of its prestige. Recent commissions such as OMA’s Rothschild HQ Bank, Herzog and de Meuron’s BBVA headquarters in Spain or Hadid’s Central Bank in Baghdad continue to re-invent the type, with a renewed 2

emphasis on the “public experience” and the building’s relation to the context around it.

The Urban Local Branch Although necessary, the Headquarter Building represents a small percentage of building ‘amount’ per banks. Instead, local branches continue to proliferate as if counter-intuitively expanding in inverse proportion to the amount of virtual transactions. 7 In fact, the idea that prevailed in the 80ies, as the computing revolution took hold of banking, that local branches - which were long considered to be perennial money losers built only for the convenience of the customer - would soon disappear was dropped in the late nineties. The main catalyst for this change was the Glass-Steagall Act of 1999 which overturned the original 1933 and 1955 laws that banned any connection between commercial banks, investment banking and insurances services, now allowing banks to compete with brokerage, security and insurance companies in offering a full spectrum of financial services. The department store’s interior strategies on which the Manufacturers Hanover Trust had been modeled now became more than inspiration. Actual merchandising and selling of a wide array of financial “products” became central to banking and the main points of sales became the branches converted into retail outlets to be deployed across America.

Banking as Shopping Modeled on retail roll-outs, many local mega-banks branches soon adopted corporate retail design standards such as the “zone theory.” This design approach divides the bank space into various zones, from the “self-service zone” on the front to the “drive aisles” that take customers passed the “sales zone” or “merchandising zone” that offers financial products and planning and finally to the “support zone,” once the heart of classical banks and now in the back where traditional transaction services, teller lines and cash vault are present.

“Sight Lines” and “Strike Ranges” are given great importance; copying Wall Mart, branches often have a special “first impression person” who greets customers at the customer service desks and directs them to various services. 8 One of the best known pioneers of this new design approach is Oregon’s Umpqua which caught the attention of the banking industry when, in 2003, it launched its “next frontier in banking” in the form of its first “store” in Portland’s hip Pearl District a few blocks from the original NikeTown that revolutionized the retail industry. 9 In 2010, working through its “innovation lab” Umpqua launched a new concept: the “Neighborhood Store” in Northwest Portland where similar “to cafés and other gathering places, Umpqua’s neighborhood stores provide people with an engaging space to browse local merchandise, shop online, enjoy a cup of coffee and learn about community events and resources — in addition to banking.” 10 Another precursor in banking-as-retail design is Washington Mutual, which in 2000 rebranded itself as WaMu and launched its “Occasio” retail concept with great fanfare as it expanded through Las Vegas and Atlanta. While Chase adopted this approach for its Madison Avenue higher end branch, 11 its recent ethos has been to go back to traditional design for its branches and in 2009, after the collapse of WaMu which it owns, Chase reconverted all of the banks’ retail branches into traditional designed branches, a move that fostered a debate within the industry in favor or against the more innovative branding strategies. 12

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Today, the retail bank concept is making a comeback with banks such as Royal Bank Canada rebranding its branches to develop its “‘Retail Store’ concept, featuring interactive advice areas, touchscreen technology and more open space for customers” with a “discovery zone” where customers can download an app that allows them to explore the bank’s services while their kids are busy with a puzzle in the “kids corner.” 13 Other banks such as Citi and Huntington have also joined the “retail concept” trend, apparently “spending millions of dollars on high-tech branch redesigns modeled after retail stores such as Apple’s”. 14 In Europe, the enhanced “customer experience” has been prevalent for some time with many banks now expanding their programming as well. In 2008, the Deutsche Bank, launched its “bank of the future’” Q110 branch in an upscale neighborhood in Berlin where “at the back of the branch is a stylish upmarket cafe, with big screen flat panel TVs and free internet connectivity […] a free (staffed) daycare and customizable meeting rooms all with the latest technology. It is even pet friendly.” 15 Amongst other European banks who have taken similar approaches are Jyske Bank in Denmark, Abn Amro in the Netherlands, Che Banca in Italy, and Metro Bank in the UK.

Mega Banks vs. Community Banks In the hunt for profit, banks have continuously sought to innovate and manufacture new “products” such as CDOs (Credit Default Options) which conceal risk as they spread, and which have come under the greatest fire as the main culprits in the recent mortgage/financial global crisis. Banks-as-retail stores eager to sell at all cost have come to embody the fundamental structural problems of the banking system today. In 2011, it is the physical territory of the banking system, which focused much of the initial actions of the Occupy Movement, from the Occupation of Wall Street to the storming of individual banks such as that of the lobby of a Bank of America branch in San Francisco.

Today, the current atmosphere of distrust and anger towards large corporate banking institutions and the global banking system in general continues: “too big to fail” has confirmed a general lack of accountability while large-scale corporate bonuses persist and financial scandals continue to emerge (cf. the recent estimated $9Billion loss by Morgan Chase’s 16)– all sure signs for the general public of the system’s unphased reckless risk taking and greed.

In this atmosphere, the struggle to find alternate models of banking is more alive than ever. In the last few decades in New York, smaller community banks have tried to emerge: interesting examples can be found in Harlem, where a long tradition of community banking has existed since the sixties, when the first African-American owned bank, Harlem’s Freedom National Bank, was created to counteract the segregation which prevailed in most other banks. Unfortunately these models have in the past not been able to compete: created in 1964, the Freedom National Bank folded in 1990. Similarly the Harlem Savings Bank has merged steadily with other banks to become the very large Apples Savings Bank. More recently, Carver, a successful community owned bank was bailed out by Wall Street. 17

The renewed energy in community banking today is stemming from the technology –led systematic transformations as well as by the radical opportunities presented by social networking. New voices and initiatives are slowly emerging globally, building on the old localized community models while expanding them to become 21st century models.

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Alternate banking models and alternate currencies There are many signs pointing to the promise of a gradual shift in banking. While many are linked to the recent financial crisis, others have been emerging in developing countries for some time, offering interesting alternate models.

In the US, the post-financial collapse has seen a renewed popularity for the nonprofit Credit Unions, as well as the sudden “take” of Microbanking. In 2009 in Oregon, a core group focused on banking and part of the Oregon Working Families Party came up with the name “Fire Your Bank” and organized several actions, closing their mega-bank accounts and moving their money to local banks and credit unions. 18 In 2011, the “Move Your Money” campaign which involved many key organizers of the Occupy movement, crystallized around “Bank Transfer Day” which occurred the first Saturday of November 2011 and where, according to journalist Van den Heuvel, “40,000 new customers nationwide deposited $90 million with credit unions, adding to the 650,000 people and $4.5 billion in deposits that had been moved to community banks in the preceding weeks.” 19

This sense that communities can rally to find alternate models of exchange has recently seen a number of examples around the world as well: in Greece, the small port town of Volos has developed its own currency, the TEM, which is equal to 1 Euro and co-exists with the European currency while not relying on its availability.

This alternate currency – a basic bartering system – allows for local exchanges of resources and services, all with the help of online organization. 20 In French Switzerland, the WIR, which was created in 1934 in response to the economic crisis of the early 30s is said to have allowed the region to weather a number of crisis including the recent global economic meltdown. These alternate currencies are similar to mutual credit models where no profit or interest are involved and all users “return to zero.” Other examples include “Time Share” and “Time Banks” around the world, the “Berkshares” and Ithaca Hours in the US, the LETS and the Brixton in the UK (where you can pay for a pint of beer by sms), the Chiemgauer in Germany, the Sucre and the Global Barter System in South America, the Community Oriented Mutual Economy in Honk Kong and the Community Exchange System (CES) talent in South Africa. As Martin-Christoph Ziethe from Chiemgauer EV, the organization behind Chiemgauer, says: “The aim of a regional currency is to promote the local economy, which also benefits the environment because the carbon footprint of local logistics is clearly much lower. It is far healthier economically and environmentally to have several small high street businesses rather than one megastore.” 21 Paralleling these more “traditional” alternative currencies has been the emergence of highly successful digital currencies such as the Bit Coin and the Ven. Today, there are at least 4000 alternate currencies compared to fewer than 100 in 1990.

More influential even is the mobile payment system which was able to extend financial services to poor and rural populations first started in Kenya and has since opened up the possibility of peer-to-peer exchanges by allowing non banking institutions such as Vodafone and Safaricom Kenya to enable banking transactions. 22 Other systems include Smart Cards such as the Oyster Card – originally used in the UK for transportation only and now turned into debit cards as customers are able to credit money unto their cards and retailers able to accept them. A similar example occurred with the Octopus Card in Honk Kong, which was initially also only used for transportation and currently processes three million transactions a day. 23

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The Online Community Bank This model of peer-to-peer (P2P) transactions has not gone unnoticed as the new frontier for banking. Online institutions such as Zopa are using the Internet to create communities and allow for peer-to-peer lending, 24 with higher returns and lower risks. More generally, the combination of resentment towards large corporate banking models and leaps in information and technology are inevitably forcing change. In his Banking 2.0, Brett King explains that with the increases in regulations for investment banking, US banks will need to follow their European peers in rendering Retail banking more attractive to customers, making it essential to their competitive edge. This means heavier investments in “store experience” and “customer service” as well as in mobile banking technologies. King also notes that beyond what large corporate banks need to do to remain competitive, the social mediascape is changing the banking-scape: smaller community banks can now rely on social media to expand digitally their existing network, often showing more flexibility than larger banks.

In contrast to the start-up model, media giants such as Google, Facebook and Twitter are also jumping on the banking wagon, naturally building on their already formed network of billions of people. Presenting themselves as alternates to the large banking corporations, Google, Facebook and Twitter are not radically reshaping the banking landscape: rather, they are transforming its interface by joining forces with existing banking moguls – Pay Pal, Citi Bank, etc… – they are becoming the “nicer” and “smarter” social-media-like front end of banking while larger banks recedes to the backend and the continued creation of credit.

Dixon, an ex-investment banker now amongst those leading the charge of banking reform, demonstrates how these new initiatives, while ultimately still requiring large scale reforms “from the top,” are nevertheless beginning to erode the unsustainable system currently in place. In particular he notes that while it is still impossible to entirely “opt-out” of the current system, examples such as Wikileaks’ ability to survive and get funds despite being boycotted by all major financial institutions are pointing to the power of social media and online communities. And while media giants such as Google, Facebook and Twitter are engaging this power while still relying on Citibank, Pay Pal and the such, other more experimental endeavors are pushing boundaries further, building on the recent emergence of platforms such as CrowdFunding.

The Social Network Bank In August 2012, BanktotheFuture.com, “the first social network financial institution” was launched. 25 Dixon describes this bank as radically different in the following ways: first, BanktotheFuture.com is not intended to legally own the money deposited in it; second, customers can track their investments and know exactly what their money is being used for. In addition, while traditional banks are mostly engaged in speculation, BanktotheFuture.com only promotes investing in productive enterprises that contribute back to the community and create jobs.

Unlike traditional banks, there are no interests on loans, rather the banks ‘members can lend their shares directly to creditworthy borrowers and receive interests on their savings as well as be able to invest shares in businesses they chose to support and follow. Finally – and in this it is the most radical – BanktotheFuture.com does not want to create money as credit.

One of a number of growing CrowdFunding ventures, BankToTheFuture.com com’s

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main difference is that it constitutes the world’s first social media-driven financial institution, evaluating customers on their social media “capital” on Facebook, Twitter, Linkedin and Google+ and not just credit rating like traditional banks. As such, members of BankToTheFuture.com get to build their social capital score for the future, which measures additional factors such as reviews, social media activities and recommendations.

Interestingly, BanktotheFuture resonates with the early experiments that targeted underserved communities such as the Bowery Savings Bank, using contemporary technology to link back to ideals of banks as safe, transparent community builders, investing in the future of their community by harnessing the strength of numbers to provide everyone with what was at the time, and is still today, reserved to a financial elite.

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Karissa Rosenfield, Video: Rothschild Bank headquarters / OMA 08, Dec 2011, ArchDaily, Accessed 10 Jan 2012. <http://www.archdaily.com/190525> 2 Nicholas Adams, Skidmore, Owings, & Merrill: SOM Since 1936.

3 Robert L. Niles, Why Are Bankers ‘Going Modern?, Banking, October 1956, p.42 in Charles Belfoure, Monuments to Money: The Architecture of American Banks, McFarland & Company, Inc. London 2005, p.251 4 Ibid., p.251 5 See Frederic Jameson, Postmodernism or the cultural logic of late capitalism, Duke University Press 1991, pp.80-84 6 See Reinhold Martin, Utopia’s Ghost Architecture and Postmodernism, Again, University of Minnesota Press 2010, pp93-122 and Reinhold Martin, Financial Imaginaries: Towards a Philosophy of the City, Grey Room, MIT, Winter 2011, No. 42, pp. 60-79 7 Charles Belfoure, Monuments to Money: The Architecture of American Banks, McFarland & Company, Inc. London 2005, p.288 8 Ibid., p.292 9 Ibid. pp.298-291 and Architecture Week, Hipper Banking in Portland, June 2003, <http://www.architectureweek.com/2003/0618/design_3-1.html> 10 The FinancialBrand.com, Umpqua unveils new “Neighborhood Store,” Jan 2010 <http://thefinancialbrand.com/9288/umpqua-bank-neighborhood-store-branch/> 11 See Sawicki Tarella Architects, Chase Manhattan Bank, Madison Avenue Branch, NYC 1999 <http://www.sawickitarella.com/chase-manhattan-bank-madison-avenue.html> 12 Brett King, The Best Practice Engagement Bank, Banking4Tomorrow.com, Feb 2011 < http://www.banking4tomorrow.com/2011/04/the-bestpractice-engagement-bank/> 13 The FinancialBrand.com, RBC Debuts New Retail Store Concept, Feb 2011 <http://thefinancialbrand.com/16613/rbc-retail-store-branch-prototype-concept/> 14 Penny Crosman, Why the Retail Store Bank Branch is making a Comeback, Bank Systems and Technology, March 2011. <http://www.banktech.com/channels/229400176> 15 Phil Verghis, Deutsche Bank Unveils its ‘Branch of the Future,’ June 2008 http://www.verghisgroup.com/2008/06/23/q110-deutsche-banks-branch-of-the-future/ 16 Mark Gongloff, JPMorgan Chase Has Lost $20 Billion On Its Bad Trade, Taking Into Account Share Price, Huffington Post, May 2102, <http://www.huffingtonpost.com/2012/05/14/jpmorganchase-2-billion_n_1514884.html> 17 Ben Fractenberg, Harlem Community Bank Bailed Out by Wall Street, DNAinfo. com, Oct 2011 <http://www.dnainfo.com/20111025/harlem/harlem-community-bank-bailed-out-by-wall-street> 18 Katrina Vanden Heuvel, The Oregon Trail to Banking Local, The Nation, Nov 2011 <http://www.thenation.com/blog/164814/oregon-trail-banking-local> 19 Ibid.

20 Marc Lowen, Bartering System Popular in Volos, BBC News, April 2012 7

<http://m.bbc.co.uk/news/world-europe-17680904> 21

Jon Palmer and Patrick Collinson, Local Currencies the German Way: the Chiemgauer, The Guardian, September 2011, <http://www.guardian.co.uk/money/2011/sep/23/local-currenciesgerman-chiemgauer> 22

http://cases.growinginclusivemarkets.org/documents/93 http://www.octopus.com.hk/home/en/index.html 24 http://uk.zopa.com/about-zopa/big-idea 25 http://www.sourcewire.com/news/73503/world-s-first-social-network-financial-institutionbanktothefuture-com-launches 23

REFERENCES & RECOMMENDED READINGS Readings will be uploaded on courseworks, please read them!

READINGS Brett King, Bank 2.0, How Customer Behavior and Technology Will Change the Future of Financial Services, Marshall Cavendish Reference, July 2010, Introduction.

Simon Dixon, Bank to the Future: Protect your Future before Governments Go Bust, Searching Finance Ltd., February 2012, Introduction.

Charles Belfoure, Monuments to Money: The Architecture of American Banks, McFarland & Company, Inc. London 2005, Introduction, Chap 1,6,7,8.

Frederic Jameson, Postmodernism or the cultural logic of late capitalism, Duke University Press 1991, pp. 80-84.

Reinhold Martin, Utopiaâ&#x20AC;&#x2122;s Ghost Architecture and Postmodernism, Again, University of Minnesota Press 2010, pp. 93-122.

Reinhold Martin, Financial Imaginaries: Towards a Philosophy of the City, Grey Room, MIT, Winter 2011, No. 42, pp. 60-79.

Daniel M. Abramson, Skyscraper Rivals: The AIG Building and the Architecture of Wall Street, PAP, Introduction and Chap 8 & 9.

Daniel M. Abramson, Building the Bank of England: Money, Architecture, Society 1694-1942, Introduction.

Saskia Sassen, Locating Cities on the Global Circuit, Environment and Urbanization April 2002 vol. 14 no. 1, 13-30.

The American Life, 423: The Invention of Money, Chicago Public Media & Ira Glass, July 2011.

MISC. LINKS History http://www.saylor.org/site/wp-content/uploads/2011/08/HIST312-5.1.3-FirstBank-of-the-United-States.pdf http://www.nytimes.com/2009/03/08/realestate/08scapes.html?ref=streetscapes http://www.nytimes.com/2010/06/13/realestate/13scapes.html?ref=streetscapes http://ci.columbia.edu/0240s/0242_2/0242_2_fulltext.pdf http://www.buildinghistory.org/buildings/banks.shtml Contemporary Designs http://www.worldarchitecture.org/world-buildings/worldbuildings.asp?countries=subdetail&cno=11&cn=Banks http://plusmood.com/2011/03/bmce-bank-foster-partners/

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http://www.archdaily.com/190525/video-rothschild-bank-headquarters-oma/ http://www.archdaily.com/141467/sugamo-shinkin-bank-tokiwadai-branchemmanuelle-moureaux-architecture-design/ http://www.archdaily.com/75418/central-bank-zaha-hadid/ http://www.archdaily.com/41923/santander-totta-university-bank-agency-lglsarchitects/ http://www.archdaily.com/20782/saxo-bank-3xn/ http://www.archdaily.com/57217/middelfart-savings-bank-3xn/ http://www.archdaily.com/76886/cooperative-credit-bank-studio-kuadra/ http://www.archdaily.com/19127/bank-in-donoratico-massimo-mariani/ http://www.archdaily.com/90709/anz-centre-hassell/ http://www.archdaily.com/54544/macquarie-bank-clive-wilkinson-architects/ http://www.bdonline.co.uk/story.asp?sectioncode=781&storycode=3130749 http://www.huffingtonpost.com/mobileweb/adel-zakout/top-10-banksembracing-ar_b_1078818.html Retail Banks Paris BNP: the future of retail banking http://www.youtube.com/watch?v=oYPtBhkn_HU&feature=g-vrec BBVA the Bank of the future http://www.youtube.com/watch?v=EAncLDWOgVs&feature=related

http://www.portlandurbanista.com/?p=380 http://www.oregonbusiness.com/the-latest/4620-umpqua-cruises-into-hawthorne http://devule.com/architecture-design/banks-interior-design-elegant-styles.html http://thefinancialbrand.com/16613/rbc-retail-store-branch-prototype-concept/ http://www.banktech.com/channels/229400176 http://www.bai.org/bankingstrategies/distribution-channels/branches/making-instore-branches-deliver http://www.verghisgroup.com/2008/06/23/q110-deutsche-banks-branch-of-thefuture/ http://www.creative-brand.com/bank-branding/chases-reverse-evolution-in-bankbranch-design http://thefinancialbrand.com/13144/bank-branches-should-offer-free-wifi-notespresso/ http://www.banking4tomorrow.com/2011/04/the-bestpractice-engagementbank/ http://thefinancialbrand.com/9288/umpqua-bank-neighborhood-store-branch/ http://thefinancialbrand.com/16492/umpqua-bank-evolves-branch-designconcept/ http://www.architectureweek.com/2003/0618/design_3-1.html Harlem Alternative Banks http://www.culturenow.org/HarlemNOW/index.php?page=display_entry&work_nu m=9711 http://www.dnainfo.com/20110405/harlem/harlembased-bank-needs-20-millionstay-afloat-report-says http://www.dnainfo.com/20111025/harlem/harlem-community-bank-bailed-outby-wall-street

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http://harlembespoke.blogspot.com/2010/09/remember-harlem-savings-bankcirca-1911.html https://www.applebank.com/about-detail.aspx?id=102 http://en.wikipedia.org/wiki/Apple_Bank_for_Savings http://findarticles.com/p/articles/mi_gx5202/is_1988/ai_n19121637/ http://www.fundinguniverse.com/company-histories/Apple-Bank-for-Savingscompany-History.html http://www.blackenterprise.com/2009/03/27/carver-federal-savings-bank-turns60/ Alternative Banking / Occupy http://www.bloomberg.com/news/2011-11-08/credit-unions-signed-40-000members-on-nov-5-trade-group-says.html http://www.thenation.com/article/165333/revolution-through-banking http://www.thenation.com/blog/bankers-and-their-victims http://www.thenation.com/blog/164814/oregon-trail-banking-local http://www.thenation.com/article/161253/oregon-grassroots-campaign-statebank The Future of Banking Brett King http://www.youtube.com/watch?feature=endscreen&NR=1&v=b8PMQqn4G8w http://www.youtube.com/watch?feature=player_detailpage&v=Z3v9KqDe7VQ http://www.youtube.com/watch?v=FwVuBPxlSjA&feature=related What do investment banks do? http://www.youtube.com/watch?v=xlYDonZLoHg&feature=related Warren Buffet on Banking Reform http://www.youtube.com/watch?v=GpVzJOLxRlo&feature=related

Bank to the Future, Simon Dixon http://www.youtube.com/watch?v=7CotvAK_04M https://www.banktothefuture.com/# http://www.sourcewire.com/news/73503/world-s-first-social-network-financialinstitution-banktothefuture-com-launches George Dyson on the Possibility of a Google Bank http://www.youtube.com/watch?v=QtijHwnAyqM&feature=related The Facebook Bank http://www.youtube.com/watch?v=XT6b_jXsN6M&feature=related On mutual credit banking and alternate currencies Jem Bendell Rebuild21 http://www.youtube.com/watch?v=vWeQfNpW9sQ

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http://rebuild21.org

Alternate Currencies Tem http://m.bbc.co.uk/news/world-europe-17680904 http://www.theworld.org/2012/06/greek-town-adopting-system-of-bartering-onsteroids/

WIR http://www.trunity.net/ThePeacePortal/topics/view/10812/ http://www.swissinfo.ch/eng/business/Cash_substitute_greases_business_wheels.h tml?cid=7613810 http://www.scribd.com/mobile/doc/35857116 Bershares and other http://www.worldwatch.org/node/5978

Time banks http://www.huffingtonpost.com/mobileweb/paul-rockower/timebanks_b_1813260.html Sucre http://www.scribd.com/mobile/doc/35857116 Bitcoin http://bitcoin.org/ http://en.m.wikipedia.org/wiki/Bitcoin

Ven http://en.m.wikipedia.org/wiki/Ven_(currency) http://www.hubculture.com/groups/237/ http://m.techcrunch.com/2011/05/20/bitcoin-ven-and-the-end-of-currency/ Chiemgauer http://www.guardian.co.uk/money/2011/sep/23/local-currencies-germanchiemgauer

Kenya http://www.9010group.com/countries/9010-uk/google-launches-beba-an-nfcenabled-payment-card-in-kenya General http://www.time.com/time/business/article/0,8599,1865467,00.html

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STUDIO PROJECT The studio imagines our recent “great recession” as a critical moment in the transformation of the banking industry, with possible radical consequences to banking’s image as conveyed and organized by architecture, similar to that in which modernism’s transparency and openness replaced the historicist “secretive” architecture that prevailed prior to the Great Depression. With corporate banks, and their mirror image of lobbies set up as retail stores, facing continued anger and deep distrust, new opportunities for alternative banking systems and spaces are emerging. Our bank, a fictitious entity called the “Social Network Bank” is created in this context: the social network aspect referring to both our banks’ ability to harness the new possibilities of virtual community building, transparency and exchange offered by social media as well as its potential for physical and territorial, local and urban manifestations. While it may seem counter-intuitive that an on-line banking platform would require a physical space, our studio builds instead on the many recent examples of physical space’s intimate complementary relationship to virtual communication: from the persistence and transformation of local libraries in the age of the digital book, to the recent protests from Occupy to Tahrir Square which, while launched and organized through social media, nevertheless found power in physical gathering. For banking, the continued investment by large banking corporations in both local branches as well as headquarters demonstrates how representation through architecture and the possibility of physical interaction still resonates, even as the physical spaces of banks are once again forced to radically transform.

It is this complex relationship between the building of an online community and its mirror/complement in the actual world that the studio will aim to explore.

PROGRAM Building on the many examples of alternate banking strategies outlined in the syllabus – whether credit union, micro banking, the creation and use of alternate currencies or the increasing use of social media platforms – students are asked to engage with one or more of these new banking models and propose a physical, architectural manifestation of them. Understanding that the architecture of banks has always intensely operated at a representational level, students are asked to explore the following questions: how should these new models be represented and to whom? How can architecture project a radical new image for banking, while nevertheless building on its long history? From the aura-inspiring expansive halls of locally embedded savings banks to the industry’s modernist embrace of transparency and from the proliferation of Art-filled lobbies and “public” spaces to the type’s numerous explorations of the winter-garden/atrium as indoor-outdoor space as well as its careful choreographing of spaces, from the most private vaults to the most “public” plazas.

The physical manifestation of technology will be an important part as well: how to represent the sense of transparency, peer-to-peer lending platforms and networked community that our social mediascape is enabling? Can we imagine a banking space where borrowers and lenders meet around actual displayed projects? Does the bank space become an event and community space? How would the bank relate to its immediate local context and tie into local resources while connecting them to a larger global network of like-minded members?

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All of these questions will be explored and addressed as students create their own program and imagine a new radical bank, all within an overall area of 30,000sf, and using the attached program template as starting point.

SITE The site combines two properties (547 and 551 Fulton Street) providing exposed sides along Fulton Mall, Bond Street, and De Kalb Avenue. It is in the heart of the ‘Brooklyn Tech Triangle’ a recent initiative launched in July 2012 by the Brooklyn Tech Triangle Task Force, a consortium of stakeholders in the Downtown Brooklyn Area who, as the initiative’s Request for Proposal notes “are seeking to find and promote innovative public policy, transportation and place making solutions to foster the growth of the technology and creative economy” in this area (See Bklyn Tech RFP). As an area to be defined, The Brooklyn Tech Triangle consists of the neighborhoods of Dumbo, Downtown Brooklyn and the Brooklyn Navy Yards, which combined currently employ 9,628 people in the technology sector, generating 1.3 billion economic outputs, poised to double over the next three years (cf.www.brooklyntechtriangle.com). It is within this current and projected influx of technology and creative entrepreneurship that the Social Network Bank is imagined to serve, layered unto the richness of the existing diverse population. The site for the bank and the bank building itself are thought to embody the Triangle’s future development with its commitment to public green spaces and parks, public art spaces that engage and create a sense of place and community as well as to the development of demonstration projects that test groundbreaking technologies in clean energy and ecological infrastructure.

DELIVERABLES This semester is the first in which you are asked throughout the semester to translate your critical thinking into architecture as a complete building. As such, you should be demonstrating your ability to raise clear and precise questions, use abstract ideas to interpret information, consider diverse points of view to reach your conclusions and build your argument as well as be able to constantly test options against the criteria that you have established for your project. In addition, the semester is intensely oriented for you to further explore and strengthen the representation skills you developed in Core I. WEEK 1& 2 PRECEDENTS ANALYSIS Learning from precedents, you are asked to demonstrate your ability to examine and understand the fundamental principles behind the precedents you analyze, and to make choices as to which of these principles and strategies can be learned from or re-invented or incorporated into your project, both at the architectural as well as at the urban scale.

You should select two buildings, one small and one large. Analyze and produce diagrams and drawings for both buildings, comparing the various strategies.

Produce a physical model for only one of the two buildings. The analysis should be done at the same scale and using the same conventions across all precedents, to create a body of ready-to-use references, to be shared by the entire section. This

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precedent analysis phase is an opportunity for you to experiment with the means of representation in drawing and modeling to explore different ways of developing and representing your project throughout the semester.

Precedents HQ / Large Bank of China Tower, I.M Pei, Honk Kong 1990 BBVA Headquarters, Herzog & de Meuron, Madrid outskirts, 2009 City Corp Center, Hugh Stubbins, New York NY 1977 European Central Bank HQ, Coop Himmelb(l)au, Frankfurt, Under Construction Federal Reserve Bank of Minneapolis, Gunnar Birkets & Associates, Minn. MN 1973 Honk Kong and Shanghai Bank (HSBC), Foster + Partners, Honk Kong 1986 Hypo Alpe-Adria Bank, Morphosis, Klagenfurt, 2002 Iraqi Central Bank HQ, Zaha Hadid, Baghdad 2010 Macquarie Bank, Clive Wilkinson, Sydney Australia 2009 National Bank, Arne Jacobson, Copenhagen 1978 National Commercial Bank HQ, Bunshaft/SOM, Jeddah Saudi Arabia 1983 One Chase Plaza, SOM, New York NY 1960 RepublicBank Center, Johnson & Burgee, Houston TX 1981 Rothschild Bank Headquarters, OMA, London UK 2011 Saxo Bank, 3XN, Hellerup Denmark 2008 Branches / Small Banco Borgers, Alvaro Siza, Porto 1980 BMCE Banks, Foster + Partners, Casablanca Morocco 2011 Bowery Savings Bank, McKim Mead and White, New York NY 1894 City National Bank, Frank Lloyd Wright, Mason City Iowa 1910 Corn Exchange Bank, Felheimer & Wagner, New York NY 1936 Great Western Savings and Loan, SOM, Gardena CA 1963 Guardian Safe Depository, Steven Holl, New Jersey 1982 Irwin Union Bank & Trust, Eero Saarinen, Columbus Indiana 1954 Knickerbocker Trust, McKim Mead and White, New York NY 1902 Manufacturs Hanover Trust, Bunshaft/SOM, New York NY 1954 Merchants National Bank, Louis Sullivan, Grinnell Iowa 1914 Middelfart Savings Bank, 3XN, Middelfart Denmark 2010 National City Bank of New York, Walker and Gillette, New York NY 1927 Peoples’ Savings Bank and Loan, Louis Sullivan, Sidney Ohio 1924 Sugamo Shinkin Bank Tokiwadai Branch, Emmanuelle Moureaux Architecture + Design, Tokyo Japan 2011 Village Bank, Frank Lloyd Wright, 1901 World Savings Bank, Frank Gehry, North Hollywood 1980 Zentralsparkasse, Günther Domenig, Vienna, 1979 Seminal Non-Bank Precedents: Beijing National Stadium, Herzog & De Meuron, Beijing, 2008.

Beinecke Library, Gordon Bunshaft for SOM, 1963 Berlin Philharmonic, Hans Scharoun, Berlin, 1963.

Carpenter Center, Le Corbusier, Cambridge, 1963 Casa Familiar, Estudio Teddy Cruz, 2001+ City Hall of Murcia, José Rafael Moneo, Murcia, 1991

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Cooper Union, Morphosis, New York City, 2009 Die Angewandte, Wolfgang Tschapeller ZT, Vienna Ecocity Ecology and Planning Museum, Steven Holl, Tianjin, 2012 Eyebeam, Diller Scofidio Renfro, New York City, 2004 Free University of Berlin, Candillis Josic and Woods, 1948 ICA, Diller Scofidio Renfro, Boston, 2006 Kunsthal, OMA, Rotterdam, 1992 Kunsthaus Bregenz, Peter Zumthor, Bregenz, 1997 Le Fresnoy, Bernard Tschumi Architects, Tourcoing, 1997 Mercedes Benz Museum, UN Studio, ­2006 Mill Owner's Association Building, Le Corbusier, Ahmedabad, 1951 Musashino Art University Library, Sou Fujimoto, Tokyo, 2010 Musee des Confluences, Coop Himmelb(l)au, Lyon, Under Construction New Museum, SANAA, New York City, 2007 New Suburbanism, Lewis Tsuramaki Lewis, 2000 Park de la Villette, Bernard Tschumi Architects,Paris, 1983 Prada, Herzog & De Meuron, Tokyo, 2003 Rivington Place, Adjaye and Associates, London, 2007 Rolex Learning Center, Lausanne, 2009 Sainte Marie de La Tourette, Le Corbusier, Eveux, 1960 Seattle Central Library, OMA, Seattle, 2004 Sendai Mediatheque, Toyo Ito, Sendai, 2001 Sendai Mediatheque, Toyo Ito, Sendai, 2001 St. John's Abbey Church, Marcel Breuer, Collegeville, 1958 Therme Vals, Peter Zumthor, Vals, 1996 Très Grande Bibliothèque, OMA, Paris, 1989 TWA Terminal, Eero Saarinen, New York City, 1962 Universita Luigi Bocconi, Grafton Architects, Milan, 2007 Viipuri Library, Alvar Aalto, Vyborg, 1935 Wyly Theater, REX/OMA, Dallas, 2009 Yale Center for British Art, Louis I. Kahn, New Haven, 1974 Yokohama Port Terminal, FOA, 2002 Zollverein School of Management and Design, Sanaa, Essen, Sanaa, 2005 Deliverables: Diagrams: to be line drawings axonometric @ 1/16" Concept Diagram(s) Program Diagram Site Strategy Circulation Structure Systems / Orientation Façade / Envelope Material Strategies Drawings Plans (Ground Floor and other) @ 1/8" Sections (Long and cross) @ 1/8" Detail (Material or other), scale TBD

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Model One model at 1/16"

Class Booklet Compile all precedents at the same scale and chronologically into a printed and bound booklet (11x17 printed at school). All precedents should be uploaded as PDF and DWG to be shared within your sections WEEK 3 SITE ANALYSIS Our site is located at the heart of the Brooklyn Tech Triangle’s projected transformation. While embracing this vision for a technologically and creatively oriented future local community, you are asked to simultaneously be sensitive to the history of the site and neighborhood as well as to the make-up of its current community, finding ways for your project to act as a hinge between past, present and future, and to contribute positively to this complex transformation. As such, the site analysis should become the foundation for you to demonstrate your understanding of the architect’s responsibility to work in the public interest, to respect historic resources and to improve the quality of life for local as well as for global neighbors.

Deliverables Timeline of historical transformation Population analysis – past, present and projected Uses – past, present and projected Immediate zoning, present and projected Open/Green Spaces and Public Spaces (include playgrounds) Infrastructure (transportation, etc…)

Geography / Ecology

Site Model Each section will produce its own Site Model at 1/6". Students should anticipate where the site model will be placed within the limited studio space, to enable its active use throughout the semester.

WEEK 5 PROGRAMMING / CONCEPT Building on the syllabus’s proposed possible futures for banking as well as your own research, you are now asked to take a position vis-à-vis banking’s potential to again serve productively a given community – both local/physical as well as virtual – within the specific context of our given site and its role in bridging current needs with the projected ambitions of the Brooklyn Tech Triangle initiative. Your position and argument is to be translated into a comprehensive program for your architectural project, based on your assessment of community and user needs, your inventory of space and equipment requirements as well as your analysis and understanding of the site conditions – a result of the class site analysis which includes existing buildings, scale, zoning, infrastructure and other assessments which are to have implications for your project. Please use the “Program Template” as a starting point for your program and produce an Excel document with new space 16

requirements. Your program should include at least one space that deals with an indoor-outdoor condition, whether atrium, courtyard, winter-garden sunroom, or indoor-outdoor space at the perimeter.

Deliverables: 200 Words Argument Program Requirement in Excel Document Program analysis and diagrams Section as Program Diagram Massing Model as Program Diagram Concept Diagram(s) Concept Model

WEEK 6 CONCEPT / SYSTEMS For this week’s pin-up, you are asked to bring all of the analysis – precedent, site, program – together with your argument and concept to demonstrate your ability to effectively use architectural and environmental principles in design. As such, the pin-up reviewers will include structural and environmental engineers who will help you develop structural and environmental ideas as integral and productive parts of your concept and project, working together to reinforce your argument and ideas as they become manifested and transformed as architecture.

In particular, you are asked to use Ecotect to explore the lighting conditions of your project, both on the inside as well as on your envelope, forcing you to think about your façade/envelope – its degree of transparency, its materiality, and its overall solid/void strategy – keeping in mind that the imagery of bank exterior have been radically transformed over time precisely in order to actively reinvent their public image.

Deliverables Structural diagrams (axonometric and section) Lighting Study (Ecotect and/or physical model study and photographs) Indoor/Outdoor space light analysis (atrium, courtyard, etc…)

Envelope light analysis Proposed Envelope/Façade strategy and design (drawings and models) WEEK 8 MIDTERM REVIEW Deliverables Diagrams Precedent Analysis Concept Diagram(s) Program Diagram Site Strategy Circulation and Accessibility Structure / Systems Drawings Plans (at least two) @ 1/16"

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Section (at least one) @ 1/16" Model Model @ 1/16" (To fit in Site Model) Section Site Model @ 1/16" Sketch Renderings At least one

WEEK 15 FINAL REVIEW Deliverables Diagrams Concept Diagram(s) Program Diagram Site Strategy Circulation and Accessibility (demonstrate ADA access across site and project) Structure Systems / Orientation Façade / Envelope Material Strategies

Drawings Plans (at least two) @ 1/8" Sections (at least two, at least one @ 3/16") Detail of choice (material, envelope, etc…) Scale TBD Interior Elevation demonstrating signage for sensory and cognitive disability @ 1/2” Model Model @ 1/16" (To fit in Site Model) Section Site Model @ 1/16" Large Model @ 1/8" Renderings Two exterior + Two Interior

PRESENTATION FORMAT Both Midterm and Final Review presentations should be edited to enable the material essential to the understanding of the project to be organized and plotted (or printed) to fit in an area 8’x8’ square. The panels should be designed with care to create a graphic hierarchy of information, including diagrams, drawings, renderings and model or process photograph as necessary. For all other presentations including desk crits and pin-ups, requirements should be discussed with the individual instructor.

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STUDIO SPIRIT An ideal studio environment is one where students learn as much if not more from their classmates as they do from their instructor, offering insight and critique to one another and feeling engaged in each other's work and ideas. There are two ingredients that allow this to happen: first, the ability to absorb the discussions happening around you during studio time, in particular desk crits. This means avoiding random browsing, social networking, the watching of movies or television or any other activity that is a distraction from studio time. While this cannot be enforced, it is strongly encouraged as an important part of your learning experience.

The second ingredient is studentsâ&#x20AC;&#x2122; presence at all pin-ups and reviews (unless there are medical or other urgent condition). In particular, during the Round Robin PinUps, each student from one section will be teamed up with a student from the other section to take notes for him/her as a record of the critique offered. Round Robins were created with the goal to expose each student to the multiple ways of approaching architecture and design throughout the semester. As such, they are critical to studentsâ&#x20AC;&#x2122; learning experience and will be treated as such by your instructor.

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SCHEDULE Week 1 Jan 23, 25 Lottery Project Presentation Portfolio Review Precedent selection / Analysis Class Site Model start (Site visit to be done outside of studio time)

Week 2 Jan 28, 30, Feb 1 Precedent Analysis: Research, Diagrams, Precedent Model Jan 30: Precedent Presentations and Bank Tours Feb 1 PIN-UP 1 – Precedent Analysis Week 3 Feb 4, 6, 8 Feb 4: Site Presentation Feb 8: PIN-UP 2 – Site Analysis Class Site Model Complete

Week 4 Feb 11, 13, 15 Feb 13: Future of Banking Presentations Programming / The Future of Banking?

Week 5 Feb 18, 20, 22 Feb 22 PIN-UP 3: Programming Concept (combined sections) Week 6 Feb 25, 27, March 1 Programming / Concept, ctnd Massing Feb 27 Pin-Up 3: Structure Mar 1 Pin-Up 4: Structure Week 7 Mar 4, 6, 8 Massing & Sections LEGEND

Week 8 Mar 11, 13, 15 Mar 13: MIDTERM Mar 15: MIDTERM Week 9 Mar 18, 20, 22 SPRING BREAK Week 10 Mar 25, 27, 29 Systems & Envelope Mar 27 PIN-UP 5: Sections, Structure, Systems and Envelope Mar 29 PIN-UP 5: Sections, Structure, Systems and Envelope Week 11 Apr 1, 3, 5 Material & Detail

Week 12 Apr 8, 10, 12 Apr 10: PIN-UP 6: Three Quarters Apr 12 PIN-UP 6: Three Quarters

Week 13 Apr 15, 17, 19 Synthesis & Presentation Strategy Week 14 Apr 22, 24, 26 Synthesis & Presentation Strategy Week 15 Apr 29, May 1, 3 Apr 29: FINAL REVIEW Apr 30: FINAL REVIEW May 3: SUPER CRIT

Week 17 May 18: End-of-Year Show

BLUE: TOURS AND GUEST PRESENTATIONS AT GSAPP RED: ROUND ROBINS GREEN: INDIVIDUAL SECTIONS Date and Type (pin-up vs. desk crits) to be confirmed 20

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GSAPP SPRING 2013 | CORE ARCHITECTURE STUDIO II SECTION 004 | STUDIO CRITIC: LYDIA KALLIPOLITI

S L A G [By-product formed in smelting, welding, and other metallurgical and combustion processes from impurities in the metals or ores being treated. Slag consists mostly of mixed oxides of elements such as silicon, sulfur, phosphorus, and aluminum; ash; and products formed in their reactions with furnace linings and fluxing substances such as limestone.

During smelting or refining, slag floats on the surface of the molten metal, protecting it from oxidation by the atmosphere and keeping it clean.]

In recent banking history, the new market ‘bubbles’ originate from environmental issues rather than consumerist desires. Following the housing ‘bubble,’ the latest market ‘bubble’ grew from the exchange of carbon dioxide emission between countries in compliance with the Kyoto Protocol. Future market ‘bubbles’ are prognosticated to upraise from the trading of urban waste. Congested metropolitan environments like New York produce massive amounts of solid waste and sewage that is then transported out of the city. The purging of this waste is invisible to our perception, yet it generates capital for those who manage and transfer the raw materials. SLAG (if we call SLAG all kinds of waste) is a phantom material condition, but at the same time it is a product, or better stated a by-product, of social reality.

The SLAG BANK studio will address questions of converting waste to monetary capital through the design of a bank that incorporates a recycling center sited in Brooklyn’s Tech Triangle. The bank is the ideal program for this investigation as it ultimately is a place of trade as well as a place of storage. The bank is a mediator; it is a building for organization, access, flow of goods, ideas and people. In the studio, students will be asked to analyze their buildings as mediators of environmental flows, as well as monetary flows. How can the bank trade not only ‘bubble air’ but also matter? How can this matter be stored and accessed both physically -- in a container-library setting-- and digitally through Craig’s list and Facebook? The SLAG BANK studio will require students to develop an ideological as well as a materialist position recycling and to carry this position through the design of the building. We will proceed through a series of exercises from the micro-scale, investigating material conversions, to the macro-scale, investigating the dynamics of urban exchange and environmental flows. From the micro to the macro, SLAG BANK will be investigated as the meeting point arbitrating between the small and the large.

SLAG BANK will examine a recirculatory understanding of the world and its resources and will hint towards a new opportunistic ‘materiality’ that unavoidably becomes a requisite part of our discipline. Recycling is commonly referenced in regards to material systems. In this studio, however, we will explore in parallel ideas of recycling is an ideational and philosophical system of viewing the world of ideas, information and matter as flow rather than as the accumulation of discrete objects. More than a material system, recycling signals the migration of life through the conversion of one thing to another.

SLAG BANK ||||| Recycling Shit to Money

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Contemporary Design Approaches ARCH 4959| Professor Lydia Kallipoliti | Monday 12:00 pm-1:50pm | Low Center for Industrial Innovation 3045| 2 credits | Spring 2017

Professor: Lydia Kallipoliti, PhD | email: kallil@rpi.edu | Office Hours: TBD, email for appointment Course Assistants: Emily Klein, kleine5@rpi.edu | Ivan Leon, leoni@rpi.edu

CATALOGUE COURSE DESCRIPTION This course covers the main currents of contemporary design practices in architecture, as well as those speculative formations upon which they are largely based. They will be investigated as foils for the student to better understand their own individual approaches to design, but also as the current state of traditions that have long constituted precise disciplinary knowledge.

PREREQUISITES: UNDERGRADUATE LEVEL ARCH 2120, GRADE D OR BETTER

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COURSE OBJECTIVES The goals of this course are to broaden the students; knowledge of current design trends and practices; to give them the wherewithal to critique their own assumptions and predispositions regarding these trends and practices; and finally, to assist them in articulating critical design positions of their own.

COURSE CONTENT The course investigates the following questions: What is architectural design?

How have past practices shaped how we think today?

How does theory shape design approaches?

How have recent developments in the use of digital media shape design discourse today?

What is the role of the environmental impact and rising levels of pollution in contemporary design approaches?

How is the role of philosophy in architectural discourse, as seen in deconstruction, Deleuzian philosophy and Object Oriented Ontology?

How can we examine positions that negate the discipline of architecture?

What is an architectural manifesto and how can it be examined relative to/ or in opposition to the diagram?

COURSE TEXTS There is a list of anthologies which you may use throughout the semester as reference for the material examined throughout the course. You may either purchase these books online or find them in the architecture library on reserve. Please note that all readings will be posted on Blackboard and you may have electronic access of the required readings on a weekly basis.

Charles Jencks and Karl Kropf (Eds), Theories and manifestoes of contemporary architecture (Chichester, UK: Wiley-Academy, 2006).

Joan Ockman, Edward Eigen (Eds), Architecture Culture, 1943-1968: A Documentary Anthology (New York: Rizzoli, 1993).

Ulrich Conrads, Programs and manifestoes on 20th-century architecture [Translated by Michael Bullock], (Cambridge, MA: MIT Press, 1970).

Robin Evans, Translations from Drawing to Buildings and Other Essays (London: Architectural Association Publications, 1997).

Bernard Tschumi and Matthew Berman (Eds), Index Architecture: A Columbia Book of Architecture (Cambridge, MA: MIT Press, 2003).

Craig Buckley (Ed.), After the Manifesto (New York: GSAPP Books, 2011).

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COURSE DESCRIPTION This seminar will investigate architecture’s agency between social reality and architectural discourse throughout a series of disciplinary treatises narrated as manifestos in times of intense political and economic uncertainty.

From Peter Eisenman’s Autonomy to Rem Koolhaas’ JunkSpace and Bernard Tschumi’s Advertisements for Architecture, we will move through pivotal texts and projects in the past 30 years of architectural practice, education and discourse, as visions of rebuilding the discipline anew and extruding social reality to a total reconstruction project of physical space, social order and living patterns.

The journey via these positions will allow us to witness that in the history of ideas, discourses get recycled. In many respects the future has already been imagined in one way or another. Concepts emerge as allegedly new, though ideas undergo long journeys of migration from one epistemological field to another. In our discipline, the permission to reproduce, translate or even “misuse” information, to observe and transform existing material and ideological structures, endows architecture with its creative potential.

The course will conjecture that each architectural theory examined throughout the semester each week involves the construction of a “world” reflecting a definitive position within a larger cultural, political and economic setting.

In this sense, architecture becomes the construction of worlds assembled out of movements, positions, key figures and patterns that could point to new directions and ways of knowing the eras in which we find ourselves.

For the midterm and final review of this course, we will develop discourse diagrams of the field’s current status, in order to enable our understanding of what might constitute an architectural manifesto, a treatise, a position, an atlas, and a theory of historical events or in other words, a historical journey throughout time. Each week, we will examine one theory, which we will call in the framework of this course, a world.

DELIVERABLES & COURSE REQUIREMENTS Each class will begin with a short lecture by the instructor of about 20 minutes making a series of comments, observations and marking the key questions and points to be analyzed and studied. The lecture will be followed by a panel discussion organized by a group of 3-4 students. All students should participate in a panel discussion ONCE throughout the semester and register in a list recorded by the course assistants. It is the responsibility of the student group organizing the panel discussion to present the assigned weekly readings, and the weekly theme; also to engage in critical inquiry relative to the material examined and raise questions pertaining to their own thoughts during the design process. The students, not presenting, should submit a very brief commentary, as a response or critique of the weekly panel discussion reflecting the topics and questions raised in the discussion and their disciplinary impact. All responses should a post of no longer than 150 words in the course’s blog. For example, think of the significance of Bernard Tschumi’s project for the Park de La Villete, or Greg Lynn’s Embryological House. Even though the former example has been built, while the latter has not, they are both pivotal in the development of discourses and challenge the way we think about practice and design. These are the projects, you should be soliciting and bringing up for discussion. Yourcommentary (of no more than 150 words), as a critique of the panel discussion should be submitted online by the end of the day of each class.

Panel discussion and presentation of material: Each student will be required to make one oral presentation throughout the semester on the weekly readings and to lead a panel discussion on the week’s theme. Depending on the number of students in the class, students will be allowed to make teams of 3-4 for their presentations.

There are in total 11 themes in the syllabus and all students must be included in one of eleven teams and sign up for their panel discussion/oral presentation at the beginning of the semester. Please make sure to read carefully all readings when preparing your presentation and present us with a theory, in class and a list of

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important disciplinary questions which are raised by the readings. Please do not present the bio of the authors, as the reason for these presentations is to raise your critical viewpoint in the state of contemporary affairs and to become thinkers and critics.

As part of this oral presentation/ panel discussion, you will be required as a team one atlas documenting the material you have read and to upload it in the course’s blog. You are welcome to present more than one images as part of this atlas, as moments where you zoom-in and out; or to prepare your atlas in Prezi. It will be important to outline the main characters and ideas. As a team you will also be required to upload a critique, a position and a treatise reflecting your view on the material you have examined. This should be a text of 750-1,250 words with bibliographical citations per the Chicago Manual of Style. Your entry will become the focal point and basis for all other students to submit their commentary online. In the panel discussion, each student (from the team of 3-4 students) should position him/herself on the material orally. In addition to the readings, the team presenting should also carefully watch the lectures and panel discussions documented in the syllabus. During the panel discussion, you are welcome to become one of the characters you have read about and act as if you are impersonating, for example, Rem Koolhaas.

Feedback assignment for final project [MAPPING THE FIELD / DIAGRAM OF DISCOURSES]: After This is a preparatory pinup to enable you to receive feedback relative to your final project. You are required to create a diagram of contemporary discourses that reflects the way you see the field of architecture today. Who are the important authors that are marking the field today and why? What are the genealogies of thought and practice underlying their work? Are there oppositionary forces and ideas at play? How can we assemble a map that makes a point without necessarily including everything? Dig deep!

Everyone should submit their diagrams in a printed sheet of 11x17inches and in a digital copy to the course assistants by 9pm on Monday February 20th before class.

Midterm assignment [ADVERTISEMENTS FOR ARCHITECTURE]: Your midterm assignment is to construct 10 advertisements for architecture today. The aim is to solicit these points which create a critical discourse in ten short points, phrases or sentences, illustrated so as to convey overall your own manifesto. All advertisements should be sized 20x20cm, so that we can construct a matrix as a collective anthology. We will present your manifestos in a Pecha-Kucha style format in PowerPoint. Each student will have 10 slides and each slide will roll for 10 seconds automatically. You will ALL NEED TO upload your presentations prior to the beginning of class.

Please submit your 10 slides by 9pm on Sunday March 19.

Final assignment [MAPPING THE FIELD / DIAGRAM OF DISCOURSES]: After reviewing all of the course material, you are required to create a diagram of contemporary discourses that reflects the way you see the field of architecture today. Who are the important authors that are marking the field today and why? What are the genealogies of thought and practice underlying their work? Are there oppositionary forces and ideas at play? How can we assemble a map that makes a point without necessarily including everything? Dig deep!

Each student will be required to create a digital map with links crafting a unique narrative of architectural discourses today. All students should also print their map in a 24’’x36’’ plot and compose an accompanying text of 800-1000 words per the Chicago Manual of Style.

You are allowed to skip the weekly submission of commentary on the panel discussion twice throughout the semester. Please do not miss the panel discussion, midterm assignment and final review unless you have a valid medical reason. The course assistants will keep track of the submission process.

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STUDENT LEARNING OUTCOMES 1. Students will have demonstrated ability to identify and critique key aspects of architectural design projects and discourses.

2. Students will have demonstrated ability to discuss, as well as critique and contrast, the particular merits of specific contemporary design practices.

3. Students will have demonstrated ability to self-consciously reflect on their own design processes and develop a theoretical position in their design projects.

4. Students will have demonstrated ability to discern, analyze and map the field of architectural design practice, education and discourse today.

5. They will be able to identify current design theories and compare them to previous theories and manifestations of design.

METHOD OF EVALUATION Attendance and participation will be recorded by the course assistants. Weekly submissions will be evaluated in class during the group discussions; you will all receive feedback on your submissions in class. Students will have enough feedback posted by the end of March to reasonably determine their likeliness of passing the class.

Class Attendance and Weekly Submissions: (20%) ‐ Attend each class ‐ Play an active role in reading discussions and project critiques during class ‐ Submit your blog commentaries every week by the deadline Panel Discussion and Presentation of Diagram: (25%) Midterm assignment: (15%) Mapping the Field - Final Project and first submission of atlas: (40%)

GRADING CRITERIA A (94%-100%) / A-(90%-93%) work ("Superior") shows a comprehensive and mature grasp of the material presented. It demonstrates a student's capacity to consider issues fairly but critically, in new contexts and with reference to broader insights about modern architecture. "A" work demonstrates superior writing skills, proper citations, an aptitude for originality and flair, and an unwavering willingness to go beyond the standard arguments, clichés, etc. "A" work suffers from very few (usually no) errors relating to grammar, spelling, referencing, paragraph development and sentence structure.

B+ (87%-89%) / B (83%-86%) / B- (80%-82%) work ("Good") shows a solid grasp of the material presented.

However, it typically lacks the originality, nuance and detail of "A" work. "B" work shows that the material has been read and studied, but it is less impressive than "A" work, specifically in terms of the level of reflection, curiosity, textual support and/or analytical insight. "B" work may also suffer from several errors relating to grammar, spelling, citations, paragraph development and sentence structure. A less solid grasp of the material and/or the more writing errors will push the grade down.

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C+ (77%-79%) / C (73%-76%) / C-(70%-72%) work ("Average") shows some understanding of the material but is generally marred by analytical gaps, factual inaccuracies and/or missed opportunities for greater clarity. It also suffers from frequent writing problems and/or inadequate/improper citations.

D+ (65%-69%) / D (61%-64%) work ("Inferior") shows very limited understanding of the material; very limited evidence of reading; inadequate reflection; poor writing and inadequate and/or improper citations. "D" work is poorly structured, weak and/or partial in conception and delivery.

Failure ("Unacceptable"). So limited, poorly organized or misinterpreted as to justify a clear fail. Often characterized by very poor presentation, organization and writing, and inadequate and/or improper citations.

ATTENDANCE AND PARTICIPATION POLICY The scope of this class is to cultivate an environment that challenges your understanding about history and theory research, fostering student interaction and participation. It is expected that every student come to all sessions prepared to discuss their ideas, the ideas of others and having submitted the assigned material. Verbal participation will be the measure of this, be it in the form of questions, challenges, clarifications, or arguments.

You may not leave class early or arrive late in class. All assignments throughout the semester need to be submitted digitally every week and uploaded in the course blog. On the day of your oral presentation in class, please be prepared prior to 12:00pm and bring a hard copy of your submission.

Attendance is extremely important. Your insight and participation during discussions are a critical part of the class. We all learn from each other's perspectives; if you miss class, you will miss learning from these insights.

Being clear-headed in discussion involves not just reading the assignments, but thinking about them, so allow yourself some time for reflection. If you have to miss a class, please inform the Professor in writing by email.

Although the use of computers and tablets is allowed, you are strongly encouraged to take notes in analog form and participate in the class sessions. Any distractions from the course material, such as surfing through Facebook and responding to text messages or emails, will have significant implications in your grade. The use of cellphones during class is disallowed.

Attendance and participation will be recorded during all scheduled classes. You are allowed to miss one class throughout the semester, not at the day of your oral presentation or pinups. Beyond this one absence, two unexcused absences will result in the lowering of your grade by half a letter and three unexcused absences will result in the lowering of your grade by a full letter. Four unexcused absences during the term will result in an automatic failure of the class.

WRITING CENTER I strongly recommend that students with even minor difficulties with writing or expressing thoughts in written form, set up an appointment with the RPI Writing Center before handing in weekly reading summaries.

Summaries with major problems with sentence structure, grammar and spelling will be returned to the student for a redo. RPI Writing Center: http://ccp.appointy.com

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COURSE SCHEDULE AND READINGS WEEK 1 | INTRODUCTION _ THE DIAGRAM AND THE MANIFESTO January 23 [LECTURE & GROUP DISCUSSION] Mark Wigley, "Whatever Happened to Total Design," in Harvard Design Magazine (Summer 1998), pp. 18-25.

Joe Day, “Genealogy as Diagram: Charting Past as Future” in Log, (Fall 2009), pp.121-126.

Lydia Kallipoliti, “Turtles do not successfully mate with Giraffes; Pluralism Versus Cloud” in Fresh Punches: Experimental Architecture Exhibition Catalogue (New York: CreateSpace Independent Publishing Platform, 2013), pp.284-290.

WEEK 2 | MANIFESTOS AND ADVERTISEMENTS January 30 [LECTURE & PANEL DISCUSSION] Bernard Tschumi, Architecture and Disjunction (Cambridge, MA: MIT Press, 1994), pp. 53–63, 65–78.

Bernard Tschumi, “Architectural Manifestoes” in Craig Buckley (Ed.), After the Manifesto (New York: GSAPP Books, 2011), pp.172-181.

Beatriz Colomina, “Manifesto Architecture” in Craig Buckley (Ed.), After the Manifesto (New York: GSAPP Books, 2011), pp.40-61.

Beatriz Colomina, "Introduction: Architecture Production and Reproduction," in Beatriz Colomina (Ed.) Architecture Production (New York: Princeton Architectural Press, 1988), pp. 7–23.

ENCOUNTERS / PANEL DISCUSSION What happened to the architectural manifesto? Columbia University GSAPP, Symposium on Nov 18, 2011 (Session 1). Online at https://www.youtube.com/watch?v=ESG6Tr60OaA

WEEK 3 | DECONSTRUCTION February 6 [LECTURE & PANEL DISCUSSION] Philip Johnson and Mark Wigley. "Preface & Deconstructivist Architecture” in Deconstructivist Architecture (New York: Eastern Press, 1988), pp. 7–20.

Andrew Benjamin. "Derrida, Architecture and Philosophy," Deconstruction in Architecture (London: St. Martin's Press, 1994), pp. 7–11.

Mark Wigley, The Architecture of Deconstruction: Derrida's Haunt (Cambridge, MA: MIT Press, 1995), pp.1-34.

ENCOUNTERS / PANEL DISCUSSION Eisenman/Wigley X: The Problematic of Homogeneous Space (Columbia University, 2013), https://www.youtube.com/watch?v=0_b5COTxHuc In Honor of Zaha Hadid: A Conversation with Frank Gehry, Peter Eisenman and Deborah Berke (Yale University, 2016), https://www.youtube.com/watch?v=x0itDZeBaUU

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WEEK 4 |THE FOLD AND THE BLOB February 13 [LECTURE & PANEL DISCUSSION] Gilles Deleuze, The Fold Leibniz and the Baroque, Translated by Tom Conley (Minneapolis: University of Minnesota Press, 1993), pp.3-26.

Jeffrey Kipnis, “Towards a new architecture,” Architectural Design, Vol.63, No.3-4 (1993 Mar.-Apr.), pp. 40-49.

Greg Lynn, Folds, Bodies & Blobs: Collected Essays (Brussels: La Lettre volée, 1998), pp.109-186.

ENCOUNTERS / PANEL DISCUSSION The Foundations of Digital Architecture: Peter Eisenman and Greg Lynn (Canadian Center for Architecture, 2013), https://www.youtube.com/watch?v=hKCrepgOix4 An introduction to Archaeology of the Digital (Canadian Center for Architecture, 2013), https://www.youtube.com/watch?v=tBLDEcNyP7M WEEK 5 | February 20:* no class, president’s day | class rescheduled for Tuesday February 21st, 12:00-1:50pm February 21 | [PINUP OF PREPARATORY DIAGRAM & GROUP DISCUSSION]

WEEK 6 | AUTONOMY February 27 [LECTURE & PANEL DISCUSSION] Peter Eisenman, Sarah Whiting, “I am interested in a project of engaged autonomy,” in Log, No.28 (Summer 2013), pp.109-118.

Pier Vittorio Aureli, “Redefining the autonomy of architecture: the architectural project and the production of subjectivity,” Harvard Design Magazine, No.35 (Fall-Winter 2012), pp.106-111.

Jean- Louis Cohen, “Scholarship or politics? Architectural history and the risks of autonomy,” in the Journal of the Society of Architectural Historians, Vol. 67, No.3 (September 2008), pp.325-329.

Diana Agrest, “Design Versus Non-Design,” in Oppositions, No.6 (Fall 1976), pp. 45-68.

Peter Eisenman, “Autonomy and the Avant-Garde,” in Robert Somol (Ed.), Autonomy and Ideology: Positioning an avant-garde in America (New York: The Monacelli Press, 1977), pp.68-79.

ENCOUNTERS / PANEL DISCUSSION Peter Eisenman, Session 3: Discipline. Autonomy (University of Belgrade, 2014) https://www.youtube.com/watch?v=hhyvCYe2sXM&t=98s Lecture by Pier Vittorio Aureli (California College of the Arts, 2014) https://www.youtube.com/watch?v=qLWQT4I8Elc&t=414s

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WEEK 7 | BLACK LIVES MATTER March 6 [LECTURE & PANEL DISCUSSION] Meredith TenHoor and Jonathan Massey, “Black Lives Matter Call for Work,” in Aggregate Journal, http://www.we-aggregate.org/project/black-lives-matter-call-for-work James D. Graham and Michael Abrahamson, “Designing the Great Migration,” in Aggregate Journal, http://www.we-aggregate.org/piece/designing-the-great-migration Mason Currey, “It takes a village (and an architect),” in Metropolis, 2010 Oct., v.30, n.3, p.36.

Andres Lepik, Authentic architecture, or: the Bangladesh lessons, in Candide: Journal for Architectural Knowledge, 2012 Oct., n.6, p.117-139.

Julian Cooke, “Architecture with authority: Lessons from Gando, Burkina Faso,” in Architecture South Africa: Journal of the South African Institute of Architects, 2014 Nov./Dec., no.70, p.34-41.

ENCOUNTERS / PANEL DISCUSSION Black Lives Matter Teach-In: On Race, Architecture, and the City, (California College of the Arts, 2015), https://www.youtube.com/watch?v=l45_xHOQ9CQ Critical Dialogues on Race and Modern Architecture (Columbia University, 2016), https://www.youtube.com/watch?v=_nLLhiyN2xc WEEK 8 | MIDTERM PINUP | March 20

WEEK 9 | RADICAL ECOLOGY March 27 [LECTURE & PANEL DISCUSSION] Jennifer Peeples, “Toxic Sublime: Imagining contaminated Landscapes” in Environmental Communication, Vol. 5, No. 4, (December 2011), pp. 373-392.

Timothy Morton, Hyperobjects: Philosophy and Ecology After the End of the World (Minneapolis, MN: University of Minnesota Press, 2013), pp.1-96.

Jane Bennet, “Powers of the Hoard: Further Notes on Material Agency” in Cohen, Jeffrey Jerome (Ed), Animal, Vegetable, Mineral: Ethics and Objects (Washington, DC: Oliphaunt Books, 2012), pp.237-272.

Slavoj Zizek, “EXAMINED LIFE: on ECOLOGY,” You Tube: https://www.youtube.com/watch?v=iGCfiv1xtoU

ENCOUNTERS / PANEL DISCUSSION CLOSED WORLDS: Encounters that Never Happened (The Cooper Union, 2016) PANEL 1 – LOOPS AND ARROWS, https://www.youtube.com/watch?v=9kBOs49AFfw&t=2s PANEL 3 – MINIATURIZED EARTH, https://www.youtube.com/watch?v=hYTH_Eysu24 PANEL 2 – OUTERSPACE / INNERSPACE, https://www.youtube.com/watch?v=prNCHZw2pHY

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WEEK 10 | OOO April 3 [STUDENT PRESENTATION & GROUP DISCUSSION]: Levi Bryant, Nick Srnicek, Graham Harman, “Towards a Speculative Philosophy,” in Levi Bryant, Nick Srnicek, Graham Harman (Eds), The Speculative Turn: Continental Materialism and Realism (Melbourne: re.press, 2011), pp.1-18.

Levi Bryant, “The Ontic Principle: Outline of an Object-Oriented Ontology,” in Levi Bryant, Nick Srnicek, Graham Harman (Eds), The Speculative Turn: Continental Materialism and Realism (Melbourne: re.press, 2011), pp.261278.

Isabelle Stengers, “Wondering about Materialism,” in Levi Bryant, Nick Srnicek, Graham Harman (Eds), The Speculative Turn: Continental Materialism and Realism (Melbourne: re.press, 2011), pp.368-381.

Quentin Meillassoux, “Subtraction and Contraction: Deleuze, Immanence, and Matter and Memory,” in COLLAPSE III, ed. R. Mackay (Falmouth: Urbanomic, November 2007.

ENCOUNTERS / PANEL DISCUSSION Aesthetic Activism (J. Irwin Miller Symposium, Yale University, 2016) https://www.youtube.com/playlist?list=PLqHnHG5X2PXAh0Fi0EJ0Eh3CDzdN-GQv2 WEEK 11 | JAPAN! April 10 [LECTURE & PANEL DISCUSSION] Thomas Daniell, “Itsuko Hasegawa in conversation with Thomas Daniell,” AA files, 2016, n.72, p.20-39.

Hiroshi Hara, “Hiroshi Hara in conversation with Thomas Daniell,” AA files, 2015, n.71, p.129-146.

Toyo Ito, “Architecture in a Simulated City,” in Toyo Ito: Works, Projects, Writings, edited by Andrea Maffei (Milano: Electa Architecture, 2002), 334-336.

Toyo Ito, “A Garden of Microchips,” in Toyo Ito: Works, Projects, Writings, edited by Andrea Maffei (Milano: Electa Architecture, 2002), 337-339.

Atelier Bow-Wow, “Insect-Hunting,” in Echo of Space / Space of Echo (Tokyo, INAX Publishing, 2009), 30-32.

Yoshiharu Tsukamoto, “How to Utilize Pet Architecture,” in Tokyo Institute of Technology Tsukamoto Architectural Laboratory and Atelier Bow-Wow, Pet Architecture Guide Book (Tokyo: World Photo Press, 2002).

ENCOUNTERS / PANEL DISCUSSION Kazuyo Sejima and Ryue Nishizawa, "Architecture is Environment" (Harvard University, 2011), https://www.youtube.com/watch?v=dtTo9qNrQB8 Sou Fujimoto: Between Nature and Architecture (The Architectural League in New York, 2014), https://www.youtube.com/watch?v=YPeZ4l1tdjs

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Kengo Kuma, “From Concrete to Wood: Why https://www.youtube.com/watch?v=LynYUwYZXqk

Wood

Matters”

(Harvard

University,

2016),

WEEK 12 | RETROACTIVE MANIFESTO April 17 [LECTURE & PANEL DISCUSSION] Rem Koolhaas, “Junkspace,” October, No.100 (2002 Spring), pp. 175-190.

Rem Koolhaas, “Whatever Happened to Urbanism” in SMLXL (New York: The Monacelli Press, 1995), pp. 960971.

Rem Koolhaas, “Europeans: Biuer! Dali and Le Corbusier Conquer New York” in Delirious New York (Oxford: Oxford University Press, 1978), pp.235-249.

Enrique Walker, “Retroactive Manifestoes” in Craig Buckley (Ed.), After the Manifesto (New York: GSAPP Books, 2011), pp.140-161.

ENCOUNTERS / PANEL DISCUSSION Peter Eisenman, Rem Koolhaas- Architecture, Ideology, The City (Architectural Association, 2006) https://www.youtube.com/watch?v=3J-giyFlROM&t=165s Architecture: Change of Climate by Rem Koolhaas (International Architecture Congress in Pamplona, 2016) https://www.youtube.com/watch?v=brUj8i7-RtQ&t=67s “Preservation of History” Rem Koolhaas (Harvard University, 2013) https://www.youtube.com/watch?v=8kvZQ5TfnfQ WEEK 13 | ANARCHITECTURE April 24 [LECTURE & PANEL DISCUSSION] Robin Evans, “Towards Anarchitecture,” AAQ: Architectural Association Quarterly, Vol. 2, No. 1 (1970 Jan.), pp.

58-69.

Mark Wigley, “Anarchitectures: the forensics of explanation,” Log, No.15 (2009 Winter), pp.121-136.

Sylvia Lavin, “The report of my death,” Log, No.25 (2012 Summer), p.157-161.

Lebbeus Woods, Radical Reconstruction (New York: Princeton Architectural Press, 1997), pp.13-31.

Clare Jacobson, Slow Manifesto: Lebbeus Woods Blog (New York: Princeton Architectural Press, 2015).

ENCOUNTERS / PANEL DISCUSSION Lebbeus Woods. Experimental Space and Architecture (European Graduate School, Switzerland, 2006) https://www.youtube.com/watch?v=HA1QJGkNz4E&list=PLEF124C087851B1F6 Panel discussion with Lebbeus Woods and Geoff Manaugh, Dan Hill, Jill Fehrenbacher and Bryan Finoki, (Storefront for Art and Architecture, 2007). https://www.youtube.com/watch?v=o4FKKUkzPnc

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Gordon Matta-Clark: Office Baroque (ICC in Antwerp, 1977) https://www.youtube.com/watch?v=raVCWi2DyP8&t=41s WEEK 14| BIG DATA AND CHATTER May 1 [LECTURE & PANEL DISCUSSION] Sylvia Lavin, “Today we collect everything,” Perspecta, Vol.48 (2015), pp.182-191.

Mario Carpo, “Big data and the end of the story,” Perspecta, Vol.48 (2015), pp.46-59.

Mark Gage, Florencia Pita, “The zero degree of ideology,” Log, No.17 (2009 Fall), pp.7-8.

Lydia Kallipoliti, “It is our obligation to translate the emerging technology of the cloud,” Log, No.28 (2013 Summer) pp.53-58.

ENCOUNTERS / PANEL DISCUSSION The Eclipse of Beauty: Parametric Beauty (Mario Carpo, Michael Meredith, Ingeborg Rocker (Harvard University, 2011) https://www.youtube.com/watch?v=OxN4LWPlwX8 Sylvia Lavin - Something Old, Something New (Architectural Association, 2015) https://www.youtube.com/watch?v=-KtYh0xTygE Superflux - Drone Aviary (2015) https://www.youtube.com/watch?v=XwK5zkuiiCc

DATE TBD | [FINAL REVIEW WITH EXTERNAL JURY TBD]

ACADEMIC INTEGRITY Intellectual integrity and credibility are the foundation of all academic work. A violation of Academic Integrity policy is, by definition, considered a flagrant offense to the educational process. It is taken seriously by students, faculty, and Rensselaer and will be addressed in an effective manner. If found responsible for committing academic dishonesty, a student may be subject to one or both types of penalties: an academic (grade) penalty administered by the professor and/or disciplinary action through the Rensselaer judicial process described in this handbook. Academic dishonesty is a violation of the Grounds for Disciplinary Action as described in this handbook. A student may be subject to any of the following types of disciplinary action should disciplinary action be pursued by the professor: disciplinary warning, disciplinary probation, disciplinary suspension, expulsion and/or alternative actions as agreed on by the student and hearing officer. It should be noted that no student who allegedly commits academic dishonesty will be able to drop or change the grade option for the course in question.

A record of disciplinary action is permanently maintained by the Institute as noted below: RECORD OF DISCIPLINARY ACTION (2014-2016 Rensselaer Handbook of Student Rights & Responsibilities, August 2014, p.

15) Any disciplinary action can be disclosed to federal, state or local government entity, law enforcement, licensing or certification board, or corporate entity upon request of said agency if and only if: (a) by subpoena or (b) a student signs a confidentiality waiver for said agency or government entity.

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The definitions and examples presented below are a sampling of types of academic dishonesty and are not to be construed as an exhaustive or exclusive list. The academic integrity policy applies to all students, undergraduate and graduate, and to scholarly pursuits and research. Additionally, attempts to commit academic dishonesty or to assist in the commission or attempt of such an act are also violations of this policy.

Academic Fraud: The alteration of documentation relating to the grading process. For example, changing exam solutions to negotiate for a higher grade or tampering with an instructor’s grade book.

Collaboration: Knowingly facilitating and/or contributing to an act of academic dishonesty. For example, allowing another student to observe an exam paper or allowing another student to “recycle” one’s old term paper or using another’s work in a paper or lab report without giving appropriate attribution.

Copying: Obtaining information pertaining to a graded exercise by deliberately observing the paper of another student. For example, noting which alternative a neighboring student has circled on a multiple-choice exam.

Plagiarism: Representing the work or words of another as one’s own through the omission of acknowledgment or reference. For example, using sentences verbatim from a published source in a term paper without appropriate referencing, or presenting as one’s own the detailed argument of a published source, or presenting as one’s own electronically or digitally enhanced graphic representations from any form of media.

Cribbing: Use or attempted use of prohibited materials, information, or study aids in an academic exercise. For example, using an unauthorized formal sheet during an exam.

Fabrication: Unauthorized falsification or invention of any information in an academic exercise. For example, use of “bought” or “ready-made” term papers, or falsifying lab records or reports.

Sabotage: Destruction of another student’s work. For example, destroying a model, lab experiment, computer program, or term paper developed by another student.

Substitution: Utilizing a proxy, or acting as a proxy, in any academic exercise. For example, taking an exam for another student or having a homework assignment done by someone else.

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CLOSED WORLDS|

A Collection of Ideas and Images of Environmental History and Theory in the 20th Century ARCH 6961 | Doctoral Seminar | Fridays TBD 10:30am-12:30pm, 4:00-6:00pm | CASE, New York | Fall 2016

Professor: Lydia Kallipoliti, PhD | email: kallil@rpi.edu

The word “autonomy” has a twisted history in architectural production. It is most usually linked to Peter Eisenman -- founder of the Institute for Architecture and Urban Studies in the 1960s and editor of its journal Oppositions— who has consistently argued for an inner logic exclusive to architectural thought; a logic so implicit that cannot migrate to the application of other disciplines. According to Michael Hays, Eisenman’s legacy established a posthumanist paradigm, a legacy founded on the antihumanist theories of Michel Foucault and Claude LeviStrauss.

While the word “autonomy” was interrogated as an ideational vehicle to reform the boundaries of disciplinary fields, it was also, during the same period, used to popularize an ecological and libertarian way of living and acting and to herald “autonomy” from the grid of supplies. In Architectural Design’s 1976 issue, entitled “Autonomous Houses” and edited by Martin Spring and Haig Beck, “autonomy” not only harkened back to a grass-root mentality and a pastoral iconography, but also implied an existential separation of the individual from the urban fabric and eventually from the social sphere. Following the oil crisis and a decade of dense

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environmental debates, the terms “self-sufficiency,” “self-reliance,” “life-support” and “living autonomy” were already part of a pervasive lexicon for alternative technologies that has preoccupied the British avant-garde scene for several years. Based on the word’s definition in biology, “autonomy” refers to a system’s organic independence and self-governance, a notion which was transferred to the domestic realm advancing the idea of the house as a closed system un-rooted from urban context. The “autonomous house” was like a restored Garden of Eden and a real-time habitation experiment where architecture, systems theory and human biology could blend in the hope of radical social reform.

Historically, these threads were running parallel from the early to late 1970s, serving, through the use of the same term, entirely antithetical ideologies for the architectural discipline. The “do-it-yourself” countercultural movement equated with organic self-sufficiency and presaged the emancipation of the individual from authoritative state mechanisms. For the Institute for Architecture and Urban Studies, autonomy heralded the emancipation of the discipline itself, by excluding the human from architectural thought and production Concurrently, there was a fundamental reorientation in the field of cybernetics, predominantly spearheaded by the autopoietic theory of Chilean biologists Francisco Varela and Humberto Maturana. Varela and Maturana’s assertions in their first publication for a second cybernetics order in 1972, accounts for the evolution of cybernetic theories in the postwar period, as they gradually reallocate from teleological organizations in rockets’ itineraries, to approach the obscure density of the universe and living systems. Contrary to purposive machines, open to a predetermined series of feedback loops, an “autopoietic” machine was defined as an autonomous, self-maintaining and operationally closed unity with no apparent inputs and outputs. It contained componentproducing processes, which through their interaction generate recursively the same network of processes, which produced them. A cell, an organism, and perhaps a corporation are examples of autopoietic systems.

In all these different discourses addressing the term “autonomy” –either it refers to a house, in the case of the ecological countercultural movement, or a system, in the case of cyberneticians, or a discipline in the case of the Institute -- it is a common fact that autonomy surfaces the cultural and epistemological prevalence of the closed system. A closed system insulates itself from receiving any environmental input, as well as discharging output. Ultimately it functions like an adhoc sealed structure that regenerates new conditions out of what is available within its systemic borders. Contrary to an open system, which is part of an exterior world and linked to its surroundings, a closed system is sealed and any modification occurs internally, affecting the organizational structure of the system alone.

In this course, we will examine an unexplored genealogy of closed resource regeneration systems, which migrated from the space program to countercultural architectural groups experimenting with autonomous living.

The seminar documents a larger disciplinary transformation in the postwar period and the rise of a new environmental consensus in the form of a synthetic naturalism, where the laws of nature and metabolism are displaced from the domain of wilderness to the domain of cities and buildings.

Today’s debatable predisposition to provide hermetically sealed air-conditioned buildings, which are soon after dehumidified, leaves open questions, as to the leverage of legacies and the ways they transmigrate from military research to cultural ideologies, through the fabrication and the constitution of common sense. On these grounds, it is within our present obligations to interrogate conflicting definitions on ecology and the paranoia of sealing, as a cultural byproduct from nuclear disaster fear and the space program. At all costs, the value of closed systems, both as national policies and as an architectural genealogy need be questioned. The closed system

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proved impossible as a practice and hysterical as an idea at many levels. It did raise, nonetheless, issues that only very recently became cognitive in contemporary practice through the revival of fascinations with biology, organic matter and material conversions.

THE EXPERIMENT | AFTERNOON SESSIONS In the afternoon sessions, the meetings will be conducted in a studio format including pinups on a regular basis, group discussions and critiques providing feedback. For this portion of the Doctoral seminar, you will be asked to design an inhabitable living machine, related to your work in the studio and your PhD research inside the ECOS framework at CASE headquarters.

Measure allows us to understand relations; our body in relation to the environment, the proximity of objects, an individual’s biometric imprint, the thickness of walls and vulnerability to weather. You are asked to design an inhabitable living machine that converts sewage or other forms of output into useful energy –input. Your prototype should incorporate chambers with organic life, which you need to feed, nourish and steward, as if you have a pet! We will begin our investigation with physical and material experimentation in a micro-scale and develop abstract machines/ chambers that regulate different convergence processes. At the same time, the chambers should be tectonically structured in ways that facilitate interdependent relationships with the organic species that inhabit them. We will examine a diverse body of engineering techniques translated as design tools and develop strategies for processing sewage and rubbish as a form of interaction with organic life.

Each group of students will research a particular conversion process in order to construct a machine that receives input and produces output. The intention of the physical experimentation aims not only to resolve technical problems, but also to develop compelling architectural and design strategies and to address filtration, reprocessing and conversion as integral functional and programmatic parts of the proposals developed as architectural and aesthetic solutions for building programs.

To assess the value of your experiment, we will discuss discuss as a group the originality and poignancy of the elements to be considered essential in the definition of a closed system. From human waste (excrement, sweat, skin particles) to digital/electronic waste (data, hardware) to forms of capital (energy generation, organic remediation, light), your experiment should clearly identify the essential sources that drive your feedback loop.

Although the closed system (digestive machine) should perform certain conversions, feedback efficiency will not be the primary criteria of the jury, as disobedient machines – critical devices – will also be valued.

All experiments should take in consideration the specific location and space of ECOS (Ecosystem of Ecosystems) located at CASE headquarters in New York, and should demonstrate an understanding of the various forces and constituencies at play on the specific site (including, but not limited to: temperature, sound, pollution, noise, etc.)

Throughout the experiment, it is essential that you imagine yourself as two people: one being the person doing the actions and the other a scientist examining them. This mindset is pertinent to the work of pioneer designer Buckminster Fuller. There was Buckminster Fuller “The Scientist”, who now had this whole life to tinker and see if he could benefit humanity — and there was Buckminster Fuller “The Operator”, who would carry out these experiments. (Read more at http://www.business2community.com/strategy/bucky-fuller-method-dividing-halfimproves-personal-productivity-01613904#wrtBTrcGvB5EXJaD.99 )

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Methodologically, you will conduct one experiment throughout the semester, but you will need to address in both material terms, as well as simulations and representation media 3 aspects relative to feedback loops and closed systems: the problem of redundancy, the problem of representation of ecosystems without using arrows and the problem of occupancy or our physiological footprint in a given space. You will be asked to produce illustrations on all these selected criteria and focus in parts your experiment to draw conclusions.

REPRESENTATION/ The problem of the Arrow [September 30- October 7] The language of environmental representation is visualized almost exclusively with the use of arrows. Since the 1960s, Howard Odum's Energese “Energy Systems Language” has instrumentalized ecosystems, as well as human agency, in terms of input and output. This representational language for ecological simulation models, derivative from electronic circuits, has become the primary tool for architects to visualize performance and energy flow.

Could we problematize the language of environmental representation by illustrating loss,

derailment, and the production of new substances and atmospheres, by not using arrows?

Readings: Michelle Addington, “Environmental Situationism,” Log, No. 17 (Fall 2009), pp. 77-81.

“What’s with all the wavy arrows? Observations on the Architectural Eco-Image,” Unpublished paper presented at the ACSA Annual Meeting, Toronto 2015.

FEEDBACK/ The problem of Redundancy [October 28- November 4] The concept of species redundancy or ecological redundancy has been recently applied to community and conservation ecology. Redundancy is theorized as helping an ecosystem to become more resilient. This means it can continue to provide ecosystem services after a disturbance that might have knocked out one or more species. Thus, having a large variety of species can provide a buffer for ecosystem fluctuations, changes and perturbations. The idea of webbing alternate channels for energy and resources, the idea of excess and diversity

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of systems and species and built-in redundancies is a different concept than the negative feedback which has prevailed from homeostasis to the understanding of most ecological systems.

Readings: Farallones Institute, The Integral Urban House (San Francisco: Sierra Club Books, 1979), pp.1-41.

GUINEA PIG/ The problem of Habitation as an experiment [November 11- December 2] At the commencement of the environmental movement, the first ecological houses and communities were living experiments rather than measured objects. They heavily involved the architect/builder to powered the house, which needed constant maintenance. Like a natural system, the energy-resource systems of such living experiments were self-regulatory and structured to “demand” maintenance; failure to do so will (naturally) resulted in component parts ceasing their functions and affecting the many other energy and resource systems contingent to it. (eg, failure to properly sort homesite organic/inorganic wastes would hinder the composting of the wastes and result in poor compost mulch matter for the food and animal-feed garden crops, and therefore negatively affect the food energy productivity of the house…)

Readings: Lydia Kallipoliti, “From Shit to Food: The Eco House in South London (1972-1975)” in Buildings and Landscapes, Vol.19, No.1, Spring 2012, (Minneapolis: University of Minnesota Press), pp.87-106.

Lydia Kallipoliti, “Feedback Man,” Log. No.13/14, Any Corporation, pp.115-118.

December 9 | FINAL REVIEW WITH INVITED JURY TBD The experiment session encourages the use of diverse design strategies aimed not only towards the function of the machine, but also towards the spatial implications that the machine reveals. The scope of this assignment is to integrate organic and inorganic parts -- plant life next to digitally fabricated components-- as spatial systems.

Your machines do not need to be perfected as technical systems, but to work as experimental prototypes that could later be used in the development of your proposal. Your prototypes should combine technical data with experimentation in form and space.

Your INHABITABLE MACHINE should contribute to an “off the grid” self-sufficient environment. Consider for example microbial fuel cells generating electricity by using bacteria as catalysts on the anode to oxidize organic matter and transfer the resultant electrons onto a circuit. The main purpose of the machine is to mediate material flows and thus generate electricity, while at the same time offering a creative synthetic environment that fosters different daily practices of working, eating, napping, and exercising. The machine should be a highly specified designed environment which fosters alternative living patterns.

In the afternoon, all students will present their research on regular basis on every class. This session will be run like a studio with group discussions and pinups attended by all students.

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DELIVERABLES & COURSE REQUIREMENTS The doctoral seminar will be held on designated Fridays in New York according to the schedule and will be held in two sessions: the morning theory session and the afternoon workshop session. In the morning, a student will present the weekly readings in a seminar format, followed by a brief presentation of the instructor and a discussion. The students who are not presenting will be required to submit in class a weekly assignment.

Morning Seminar: -Every week a team of two students will be assigned to make a 20 minute presentation of the readings and produce an idea atlas where the different concepts come together in a combination of visual and textual format.

Please print your ideas atlas in a poster sized A0 so that we can have a pinup discussion following the presentation. If the class size permits us to do so, weekly presentations may be organized in teams of two.

- Students who are not presenting, will be required to document diagrammatically in a tabloid size printed sheet the ideas from the texts that are pertinent to their dissertation research and will be expected to participate in a group seminar discussion on the readings.

Final Project: There will be no final project or term assignment for this course separate from your presentations and weekly submissions throughout the semester. You will be asked to revise your class presentations, either on the readings and the experiment into a booklet, which should be submitted in a printed and digital format (PDF and word file). On the date of the final review, we will assemble a collection from all the booklets and pinup a collective atlas from the work produced in the class. The collection will contribute to the formation of a collective anthology for the class.

In order to develop your final submission, each student or team of students will collect the class’ weekly submissions, which will form an archival information pool to be curated and selectively included in the booklet.

To best develop your final assignment submission, please consult with the professor prior to submission.

COURSE SCHEDULE AND READINGS | MORNING SESSION September 9 | INTRODUCTION TO THE CLASS Instructor Lecture & Group Discussion September 30 | SELF -RELIANCE [FIELD: POLITICAL ECOLOGY] Student Presentation & Group Discussion

Readings: Peter Harper, Godfrey Boyle (Eds.), Radical Technology: Food, Shelter, Tools, Materials, Energy, Communication, Autonomy, Community, (New York: Pantheon Books, 1976), pp.134-167.

Carroll Pursell, “The Rise and Fall of the Appropriate Technology Movement in the United States, 19651985” in Technology and Culture, Vol. 34, No. 3 (July 1993), pp. 629-637.

Peder Anker, “The Closed World of Ecological Architecture,” in The Journal of Architecture, Vol.10, No.5 (2005), pp. 527-552. page | 6

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Stewart Brand, Jeffrey Inaba, “Stewartship: Stewart Brand interviewed by Jeffrey Inaba” in Volume, No.24 (Amsterdam, Netherlands: 2010), pp.68-71.

Lydia Kallipoliti, “Endangered Pieces of nature and the architecture of closed worlds,” Volume, No. 46, (Amsterdam: Archis Publishers: 2015), pp.100-105.

October 7 | AUTOPOIETIC SYSTEMS Student Presentations & Group Discussion

_[FIELD: CYBERNETICS]

Readings: F.G. Varela, H.R. Maturana, R. Uribe, “Autopoiesis: The organization of living systems, its characterization and a model” in Biosystems, Volume 5, Issue 4 (May 1974), pp. 187–196.

Humberto Maturana, “The Organization of the Living: A Theory of the Living Organization,” in the International Journal of Human-Computer Studies, Vol. 51, Issue 2, (August 1999), pp.149-168.

Cary Wolfe, "In Search of Posthumanist Theory: The Second-Order Cybernetics of Maturana and Varela” in William Rasch, Cary Wolfe (Eds), Observing Complexity: Systems Theory and Postmodernity (Minessota, MN: University of Minnesota Press, 2000), pp. 163-196.

Gordon Pask, “The Architecture Relevance of Cybernetics” in Architectural Design, Vol. 39, No.9 (September 1969), pp. 494-496.

Royston Landau, “Complexity and Complexing” in Architectural Design, No.10 (October 1972), pp.608610.

October 28 | INNER SPACE [FIELD: OCEAN ENGINEERING] Student Presentations & Group Discussion

Readings: John McHale, “The Future of the Future: Inner Space.” Architectural Design 37 (February, 1967), pp. 7884.

Sandra Kaji-O’Grady, Peter Raisbeck, “Prototype Cities in the Sea,” in The Journal of Architecture, Vol. 10, No. 4 (2005), pp. 443-461.

Wolf Hilbertz, “Electrodeposition of Minerals in Sea Water: Experiments and Applications,” IEEE Journal on Oceanic Engineering, Vol. OE-4, No.3 (1979), pp.94-113.

Wolf Hilbertz, “Toward CyberTecture,” Progressive Architecture (May 1970), pp.98-103.

Farooq Hussein, Living Underwater (New York: Praeger Publishing Ltd., 1970), pp. 39-67.

Jean-Michel Cousteau, Claude Millet, “Man Under the Sea” in Architectural Design, No. 4 (April (1969), pp. 206-220.

November 4 | EARTH REPLICAS [FIELD: BIOLOGY, COMPLEX ECOSYSTEMS, COLONIZATION] Student Presentations & Group Discussion

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Readings: Janette Kim and Erik Carver, “Crisis in Crisis: Biosphere 2’s Contested Ecologies,” Volume, Bootleg Edition Urban China (February 2009), pp.29-33.

Reed Karaim, “World in a bottle: once the punch line of a bad joke, Arizona's Biosphere 2 could be more relevant than ever - but will the lust for undeveloped land signal the end for this architectural wonder?” in Preservation: The Magazine of the National Trust for Historic Preservation, Vol.59, No.3 ( May-June 2007), pp.48-54.

Michael J. P Smith, “Letter from Biosphere 2” in Any, Vol.1, No.4 (Jan.-Feb 1994), pp.58-59.

James S. Russell, “Biospherian Dreams: Vague Science and Utopian Commerce in the Great Basin” in Harvard Design Magazine, No.15 (Fall 2001), p.48-59.

Ross Adams, “Approaching the End: Eden and the Catastrophe” in Log, No.19, (Spring-Summer 2010), pp.87-97.

Nick Wingfield, “Forget Beanbag Chairs. Amazon Is Giving Its Workers Treehouses,” New York Times (July 10, 2016). Retrieved from http://www.nytimes.com/2016/07/11/technology/forget-beanbag-chairsamazon-is-giving-its-workers-treehouses.html?_r=0 November 11 | SICK BUILDING [FIELD: BUILDING TECHNOLOGY] Student Presentations & Group Discussion

Readings: Reyner Banham, “A Home is not a House” (illustrated by Francois Dallegret), Art in America, Vol.53 (April 1965), pp.70-79.

Michelle Murphy, Sick Building Syndrome and the Problem of Uncertainty: Environmental Politics, Technoscience, and Women Workers (Durham, NC: Duke University Press, 2006), pp.1-34, 81-110, 151178.

WHO (2005) Housing: Sick Building Syndrome (Pamphlet No.2). World Health Organization Regional Office for Europe, Copenhagen, http://whqlibdoc.who.int/euro/r&s/EURO_R&S_78.pdf (accessed January 2, 2015).

Müjdem Vural and Ayse Balanh, “Sick Building Syndrome from an Architectural Perspective” in Sabah Abdul-Wahab (Ed.), Sick Building Syndrome in Public Buildings and Workplaces (Berlin: Springer Science & Business Media, 2011), pp.371-391.

Peter Carolin, Patrick Hannay, Lynne Jackson (The Editors), “Sick Buildings or Moaning Minnies” in the Architect’s Journal, Vol.2 (London: The Architectural Press, October 1985), pp.19-20.

December 2 | SOFT MACHINES [FIELD: ARTIFICIAL INTELIGENCE] Student Presentations & Group Discussion

Readings: Nicholas Negroponte, Soft Architecture Machines (Cambridge, MA: The MIT Press, 1975), pp.32-51.

Nicholas Negroponte, “Toward a Theory of Architecture Machines” in the Journal of Architectural Education (1947-1974), Vol. 23, No. 2 (Mar., 1969), pp. 9-12.

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Cynthia Goodman, Digital Visions: Computers and Art (New York: H.N. Abrams; Syracuse: Everson Museum of Art, 1987), pp.18-43.

Ursula Anna Frohne, “American Art under the Impact of New Media Culture” in American Art, Vol. 27, No. 2 (Summer 2013), pp. 38-43.

Stephen Wilson, “Computer Art: Artificial Intelligence and the Arts” in Leonardo, Vol. 16, No. 1 (Winter, 1983), pp. 15-20.

Jack Burnham (Ed.), Software: Information Technology and its New Meaning for Art, Exhibition Catalog for the Jewish Museum in New York, 1970, pp.19-23.

Stafford Beer, “Designing Freedom,” Radio broadcasts in 1973 as the thirteenth series of Massey Lectures established by the Canadian Broadcasting Corporation.

Gordon Pask, “Learning Strategies, Memories and Individuals” in H.W Robinson and D.E Knight (Ed.), Cybernetics, Artificial Intelligence and Ecology (New York: Spartan Books), pp.42-63.

December 9 | FINAL REVIEW WITH INVITED JURY TBD

Method of Evaluation Class Participation and Weekly assignments: (20%) ‐ Attend each class ‐ Play an active role in reading discussions and project critiques during class ‐ Provide a thorough and well-researched response to the weekly assignments

Class Presentation: (30%) ‐ Make one 20 minute presentation of one selected section which is related to your PhD research.

- Depending on the number of enrolled students, you will be able to form teams of two for the class presentations Experiment: (50%) - For each workshop session conduct an experiment related to the designated theme - Document your experiment both materially and digitally to draw conclusions -To best develop your experiment, please consult with the professor prior to submission - Collect all weekly assignments on your experiment and revise them based on the feedback throughout the semester for the final review of the semester. It is your role in the final assignment to curate the collected information of the class and assemble an atlas of your experiments.

Attendance and Class Participation The scope of this class is to cultivate an environment that challenges your understanding about theory and design research, fostering student interaction and participation. It is expected that every student come to all sessions prepared to discuss their projects, the projects of others, and having submitted the assigned material.

Verbal participation will be the measure of this, be it in the form of questions, challenges, clarifications, or arguments. Participation includes attendance, verbal participation in pin-ups, critiques, workshops and tutorials and contributions to discussions. You may not leave class early or arrive late in class. All assignments throughout the semester need to be submitted at the beginning of each seminar session. You will also need to bring your material in class both digitally and in a hard copy at every class.

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Language Language which reflects sex stereotypes, contains demeaning references toward women, or which excludes women is incompatible with gender equality. Where language reflects a bias against women, it reinforces barriers to women’s full and equal participation in society. Gender-neutral language addresses all individuals — women and men — and recognizes their contributions. Equality in language may take the form of parallel treatment for women and men, the inclusion of women, and the elimination of demeaning or stereotypical terms. Strive for overall gender balance in your written and spoken communications. Your audience is made up of both men and women, so you should address yourself to them equally. Use inclusive, rather than exclusive, language and use gender-marked terms fairly. Adapted from The Law Society of British Columbia’s Model Gender- Neutral Language Policy. (www.lawsociety.bc.ca/services/Practice/docs/Policy-Language.doc, accessed 9.20.2004)

Research Basics & Credit Students must credit the derivation of quotes, textual passages, photos, diagrams, etc.

It is recommended that students, at a minimum, conduct basic research in the following ways: 1. RensSearch for topic for BOOKS and Electronic Resources http://library.rpi.edu/setup.do 2. For ARTICLES, use the Avery Index, available under the Architecture Library http://library.rpi.edu/architecture/ and then Avery Index on the left column 3. Google Scholar for ARTICLES (instructions: under “More” tab in Google search)

at

RPI

Academic Integrity | Rensselaer Polytechnic Institute Intellectual integrity and credibility are the foundation of all academic work. A violation of Academic Integrity policy is, by definition, considered a flagrant offense to the educational process. It is taken seriously by students, faculty, and Rensselaer and will be addressed in an effective manner. If found responsible for committing academic dishonesty, a student may be subject to one or both types of penalties: an academic (grade) penalty administered by the professor and/or disciplinary action through the Rensselaer judicial process described in this handbook. Academic dishonesty is a violation of the Grounds for Disciplinary Action as described in this handbook. A student may be subject to any of the following types of disciplinary action should disciplinary action be pursued by the professor: disciplinary warning, disciplinary probation, disciplinary suspension, expulsion and/or alternative actions as agreed on by the student and hearing officer. It should be noted that no student who allegedly commits academic dishonesty will be able to drop or change the grade option for the course in question.

A record of disciplinary action is permanently maintained by the Institute as noted below: RECORD OF DISCIPLINARY ACTION (2014-2016 Rensselaer Handbook of Student Rights & Responsibilities, August 2014, p.

15) Any disciplinary action can be disclosed to federal, state or local government entity, law enforcement, licensing or certification board, or corporate entity upon request of said agency if and only if: (a) by subpoena or (b) a student signs a confidentiality waiver for said agency or government entity.

The definitions and examples presented below are a sampling of types of academic dishonesty and are not to be construed as an exhaustive or exclusive list. The academic integrity policy applies to all students, undergraduate and graduate, and to scholarly pursuits and research. Additionally, attempts to commit academic dishonesty or to assist in the commission or attempt of such an act are also violations of this policy.

Academic Fraud: The alteration of documentation relating to the grading process. For example, changing exam solutions to negotiate for a higher grade or tampering with an instructor’s grade book.

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Collaboration: Knowingly facilitating and/or contributing to an act of academic dishonesty. For example, allowing another student to observe an exam paper or allowing another student to “recycle” one’s old term paper or using another’s work in a paper or lab report without giving appropriate attribution.

Copying: Obtaining information pertaining to a graded exercise by deliberately observing the paper of another student. For example, noting which alternative a neighboring student has circled on a multiple-choice exam.

Plagiarism: Representing the work or words of another as one’s own through the omission of acknowledgment or reference. For example, using sentences verbatim from a published source in a term paper without appropriate referencing, or presenting as one’s own the detailed argument of a published source, or presenting as one’s own electronically or digitally enhanced graphic representations from any form of media.

Cribbing: Use or attempted use of prohibited materials, information, or study aids in an academic exercise. For example, using an unauthorized formal sheet during an exam.

Fabrication: Unauthorized falsification or invention of any information in an academic exercise. For example, use of “bought” or “ready-made” term papers, or falsifying lab records or reports.

Sabotage: Destruction of another student’s work. For example, destroying a model, lab experiment, computer program, or term paper developed by another student.

Substitution: Utilizing a proxy, or acting as a proxy, in any academic exercise. For example, taking an exam for another student or having a homework assignment done by someone else.

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History, Theory & Criticism II

ARC 5110| Prof. Anna Weichsel & Lydia Kallipoliti | Arch. Library Conference Room |2 credits | Spring 2016

Professor: Lydia Kallipoliti, PhD | email: kallil@rpi.edu | Office Hours: By appointment Professor: Anna Weichsel | email: weicha@rpi.edu | Office Hours: By appointment COURSE CONTENT The History and Theory of 1. Architectural debates in the 20th century circa 1930-1980 2. Various understandings of Modern Architecture as a circumspect 20th Century movement.

3. Debate texts, concepts, and design strategies on the relationship of architecture, the sciences, and technology particularly following World War II. COURSE TEXTS There is a list of textbooks which you may use throughout the semester as reference for the material delivered in the lectures. You may either purchase these books online or find them in the architecture library on reserve.

Please note that all readings will be sent to the students electronically on a weekly basis.

Charles Jencks and Karl Kropf (Eds), Theories and manifestoes of contemporary architecture (Chichester, UK: Wiley-Academy, 2006).

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Joan Ockman, Edward Eigen (Eds), Architecture Culture, 1943-1968: A Documentary Anthology (New York: Rizzoli, 1993).

Ulrich Conrads, Programs and manifestoes on 20th-century architecture [Translated by Michael Bullock], (Cambridge, MA: MIT Press, 1970).

Michael Hays (Ed.), Architecture Theory since 1968 (Cambridge, MA: MIT Press, 1998).

COURSE DESCRIPTION This course explores the various descriptions of modernity in the 20th century that have shaped or in turn been shaped by specifically architectural events. Among these events are the codification, around the globe, at different moments, in distinct locales, of those professions devoted to controlling the built environment; proposals of a new architectural style, befitting a never-before-imagined sense of contemporaneity; and reactions to global conflagrations that have decisively reshaped the connections and exchanges that constitute modern capitalism and modern socio-political life. In each of these, the presence of an ever-transforming set of technological methods and devises—such as the electrification, the mass-production and consumer attraction, the earth view, development of the computer, and exploration of spaces beyond the norm of comfort levels for human life—has played a definitive role in the continuous unfolding of change.

Our journey assumes that modernity is both the symptom and the product of a mixture of different discursive registers, involving the sovereignty of scientific knowledge, unbounded philosophical reflection and conjecture, and historical self-consciousness. The course will conjecture that each architectural concept and strategy examined throughout the semester involves the construction of a “world” reflecting a definitive position within a larger cultural, political and economic setting. In this sense, architecture becomes the construction of worlds assembled out of movements, positions, key figures and patterns that could point to new directions and ways of knowing the eras in which we find ourselves.

We will begin with key questions about architectural experimentation taking stock of different historic moments in order to enable our understanding of what might constitute architectural strategies based on the introduction of new scientific approaches and technological inventions. We will examine the construction of vision and cognition focusing on the social, cultural, psychological, and philosophical aspects of architectural experimentation between 1930 and 1980. The survey will illustrate that the way one is trained to observe, document, record, map, and interact with one’s environment is deeply historical in character. The narrative traces ideas of collecting, analyzing, and managing information from scientific and technological innovations as a basis for architectural and urban design. The course aims to provide the historical and theoretical context of various forms of scientific observation and communication of technologies within the associated concepts of architectural experimentation and design strategies.

Thematically, we will move backwards and forward in the arrow of time identifying significant events that led to architectural experimentations. The aim is to establish first the understanding of experimental strategies in architecture involving technological and scientific innovations. From the prominent event of pop culture we will expand forward and backward in order to identify formative moments and aspects of technological, cultural,

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social, economic, and political settings that transformed the discipline of architecture. Following key figures in the development of the modern architectural discourse, we will examine the role that architecture held in a larger context of knowledge formation and collective consciousness, whereby we will focus on experimental practices and new strategies based on the introduction of transdisciplinary concerns. Finally we will investigate the radical shift of focus in architecture culture with the rise of the environmental movement in the 1960s and the emergence of theories of complexity as they are found in urban space and systems thinking. We will end our semester with positions and practices positioned explicitly in opposition to perceived failures of the modern movement, as well as the shared conviction that a break from the modern tradition was necessary.

Organizationally, the course will consist of three central components: Mondays you will have guest lecturers introducing particular topics within the discourse of architectural modernity. Each guest lecturer will present a specific architectural theme, which will be followed by a class discussion.

Thursday mornings (session 1) you will have a three-hour seminar style session with Prof. Anna Weichsel. You will be given an introductory lecture to the weekly theme followed by a student presentation of the weekly readings and class discussion based on but not limited to the weekly readings.

Thursday afternoon (session 2) you will have a lecture and discussion session with Prof. Lydia Kallipoliti.

COURSE REQUIREMENTS

Attendance: Attendance and participation are crucial dynamic aspects of this course. Each student is expected to fully participate in each week’s class discussions commenting on the assigned weekly readings. If you have to miss a class, please inform the instructor in writing by email before class. Any unexcused absence will affect your term grade. Three unexcused absences will result in the lowering of your grade by 1 letter; four unexcused absences during the term result in an automatic grade of F. The course work will consist of three central deliverables: Weekly Response: The success of the seminar depends largely on committed discussions with questions, comments, observations and opinions related to the issues, ideas, and critiques raised in the weekly readings.

Towards this goal, each student should write a brief response to the weekly readings (150-200 words) to be submitted on Wednesday evening at 9 pm. The reading responses can include a significant quote from the readings and should give a brief explanation for the relevance within the week’s readings. This can be informal, intended to help engage the material and relate it to aspects of the weekly class discussion. Be prepared to discuss your response in class and to share your questions and/ or opinions.

Your responses in class should not only demonstrate that a student has read and engaged with the texts, but should also advance a conversation about the ideas outlined in the texts. There are many approaches students can take in formulating a scholarly question. One such approach might use a sentence to respond to each of the following questions: What are the different authors arguing for? Why should we care? What quotation sums up the argument and its contribution? Which are the most persuasive, clearly stated and compelling arguments presented in the collection of the week’s readings? What questions do the readings provoke?

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The deadline for submitting your weekly assignments is a hard deadline. Students who have not submitted their material by this time will fail the assignment. Throughout the semester, you are allowed to skip the submission of weekly assignments three times in total. Beyond this point, you will need a doctor’s note to be excused.

Presentations: After the first week of introductory discussion, the seminar on Thursday morning will be devoted to different themes. Each student will chose one of these themes and will be responsible for the related class presentation. The student presenting in the seminar will read all assigned readings ahead of time. The class presentation should provide an articulate response to all assigned readings for that week’s topic in combination with specific architectural projects - identifying, analyzing, and explaining the important concepts, theories, and polemics (don’t get lost in the details or the narrative sequences of the text!!!).

As part of the presentation, students are required to prepare a presentation with images that help explain the texts’ content and context and visualize the key concepts/ themes. It should correspond with the given topic, introduce the key concepts, and illustrate the guiding ideas behind each scheme. The presentation should be focused on describing the author’s claim and central argument, identifying the matter and consequences and relate it to a larger historical and theoretical context.

Each presentation should be approximately 30 minutes and should end with a question/ statement to start the discussion. It will be the presenter’s responsibility to lead the beginning of the class discussion. I encourage all students to consult with me in preparation for their presentation.

Note: You are not required to write a response the week of your presentation.

The readings and projects should be presented as a constellation of points of view on a theme. Presentations will be graded qualitatively according to this set of criteria: •

•

•

Clarity of thought: how well you can describe some of the more difficult and nuanced ideas and arguments in the readings and of the architectural concepts. It is absolutely essential to gain a good grasp of the main themes elaborated in the readings. You’ll probably need to read some essays twice and do additional research for the readings and the urban projects in order to get a proper handle on the material.

Visual presentation: The visual presentation needs to be organized in a coherent way. You’ll be marked on how well you can connect the ideas elaborated in the readings with the projects you choose to present. Additionally, it is essential to choose significant and meaningful images that represent your findings in a comprehensible manner.

Originality and Unity of Thought: Your presentation should in some way integrate the readings for that week and relate them to the week’s theme. You should identify the key arguments (thesis) of each reading and state them at the onset of your presentation rather than tediously going through every element of the readings. A great presentation will have clearly stated the main arguments in relation to the week’s theme and will have identified the stakes of such arguments (Why is this important? Why at this moment? What is the cultural, social, historical context? How does this argument/idea differ from other possible interpretations? Are there recurring versions/ interpretations at a different historical moment or in a different cultural context?).

Final Project: ARCHITECTURE AND ELECTRIFICATION For the final research project you should develop your own archival research project based on material found at the miSci archive, the Museum of Innovation and Science in Schenectady, New York (about 20 minutes from Troy). Your project should engage the impact of electrical power inventions on architectural experimentation.

Your project should interrelate archival findings from miSci with a certain conceptual or design idea introduced

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to architecture based on electrical power, e.g. street lighting. How has a particular invention in the history of electrical power influenced architectural concepts?

We will organize an introductory visit to the miSci archive and discuss architectural experimentation based on examples interrelating science, technology, and architecture.

During the semester, each student will develop an independent research project including a visual (printed) presentation of the archival findings, a bibliography of historical sources inside and outside the architectural discourse, and the presentation of the related architectural concept/ design strategy. (Start early to collect material! Don’t wait to the last weeks to work on the presentation!)

Your presentation should allow us to understand the conceptual impact the power invention had on the architectural discourse. You should trace how a new invention merged into the architectural discourse and informed a new conceptual approach or design strategy in architecture. How are technological inventions presented to and perceived by the broader public?

Your presentation should convey how you envision modernity in light of the interaction of science, technology, and architecture and how your selected project represents your understanding of related theoretical concepts in architecture.

Using graphic means, the visual presentation should describe the particularities of the chosen project emphasizing the related concepts and strategies – identifying and analyzing the principle of the architectural concept/ strategy and how it was informed by the introduction of power. It should furthermore analyze the transformative aspects of the envisioned architectural/ urban experience. Our last Thursday class of the semester will be held as a workshop to discuss the research projects.

Additionally, you are required to write an original research paper as an illustrated essay of 3,000-6,000 words.

The paper should be focused on the relationship of architecture and the sciences following World War II and particularly on the effects of electrification in the urban fabric and in the built environment. This assignment is a way of building an expertise and researching beyond online resources to produce original arguments on the relationship of architecture and technology.

All papers should be accompanied by proper bibliographic citations per the Chicago Manual of Style (http://www.chicagomanualofstyle.org/home.html) and images with proper captions. The presentation of the booklet is up to the student. Students are encouraged to experiments with different methods of format and with different mediums, even crossing between printed matter and digital platforms.

STUDENT LEARNING OUTCOMES 1. Students will have demonstrated ability—through comparing/contrasting—to analyze and differentiate between various approaches to buildings and urban spaces. Students will be able to identify, analyze and explain important theories, strategies, and polemics of modernity (1930-1980).

2. Students will be able to evaluate relationships between advances in technology and their relation to architectural debates. Students will have demonstrated effective research skills, including the ability to explore sources of knowledge external to the discipline of architecture.

3. Students will have demonstrated ability to conduct research based on archival material.

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4. Students will have demonstrated ability to write about selected architectural phenomena (realized buildings, unrealized projects and urban spaces/places/realms) in their own words.

5. Students will have demonstrated capacity to discern and analyze basic principles entailed in relating architecture to other cultural phenomena.

6. Students will be able to demonstrate a working knowledge of the use of citations and attributions in scholarly writing and presentations.

METHOD OF EVALUATION Attendance and participation will be recorded by the professors. Weekly assignments will be graded regularly taking into account.

Class Attendance and Participation: (20%) â&#x20AC;? Attend each class and play an active role in reading discussions and project critiques during class Weekly reading responses: (10%) Oral Presentations in class: (20%) Final Project: (50%)

GRADING CRITERIA A (94%-100%) / A-(90%-93%) work ("Superior") shows a comprehensive and mature grasp of the material presented. It demonstrates a student's capacity to consider issues fairly but critically, in new contexts and with reference to broader insights about modern architecture. "A" work demonstrates superior writing skills, proper citations, an aptitude for originality and flair, and an unwavering willingness to go beyond the standard arguments, clichĂŠs, etc. "A" work suffers from very few (usually no) errors relating to grammar, spelling, referencing, paragraph development and sentence structure.

B+ (87%-89%) / B (83%-86%) / B- (80%-82%) work ("Good") shows a solid grasp of the material presented.

However, it typically lacks the originality, nuance and detail of "A" work. "B" work shows that the material has been read and studied, but it is less impressive than "A" work, specifically in terms of the level of reflection, curiosity, textual support and/or analytical insight. "B" work may also suffer from several errors relating to grammar, spelling, citations, paragraph development and sentence structure. A less solid grasp of the material and/or the more writing errors will push the grade down.

C+ (77%-79%) / C (73%-76%) / C-(70%-72%) work ("Average") shows some understanding of the material but is generally marred by analytical gaps, factual inaccuracies and/or missed opportunities for greater clarity. It also suffers from frequent writing problems and/or inadequate/improper citations.

D+ (65%-69%) / D (61%-64%) work ("Inferior") shows very limited understanding of the material; very limited evidence of reading; inadequate reflection; poor writing and inadequate and/or improper citations. "D" work is poorly structured, weak and/or partial in conception and delivery.

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Failure ("Unacceptable"). So limited, poorly organized or misinterpreted as to justify a clear fail. Often characterized by very poor presentation, organization and writing, and inadequate and/or improper citations.

ATTENDANCE AND PARTICIPATION POLICY The scope of this class is to cultivate an environment that challenges your understanding about history and theory research, fostering student interaction and participation. It is expected that every student come to all sessions prepared to discuss their ideas, the ideas of others and having submitted the assigned material. Verbal participation will be the measure of this, be it in the form of questions, challenges, clarifications, or arguments.

You may not leave class early or arrive late in class.

Attendance is extremely important to learn and master the history, culture, and analysis of modern architecture.

Second, your insight and participation during discussions are a critical part of the class. We all learn from each other's perspectives; if you miss class, you will miss learning from these insights. Being clear-headed in discussion involves not just reading the assignments, but thinking about them, so allow yourself some time for reflection. If you have to miss a class, please inform the Professor in writing by email. This course has required attendance at Lectures and Discussion Sections, and it is expected that all required readings will be completed BEFORE Lectures and Discussion Sections. Attendance and participation will be recorded during all scheduled Discussion Session meetings. Two unexcused absences will result in the lowering of your grade by 1 letter. Four unexcused absences during the term result in an automatic grade of F. Although the use of computers and tablets is allowed, you are strongly encouraged to take notes in analog form and participate in the class sessions. Any distractions from the course material, such as surfing through Facebook and responding to text messages or emails, will have significant implications in your grade. The use of cellphones during class is disallowed.

COURSE SCHEDULE AND READINGS WEEK 11 Thursday, April 7th @ 9am-12pm | Instructor: Prof. Weichsel ARCHITECTURAL EXPERIMENTATION AND POP: Dantzig, Tobias, “Fingerprints” in Number: The Language of Science (New York: The Macmillan Company, 1949).

Hans Hollein, “Everything is Architecture” in Joan Ockman, Edward Eigen (Eds), Architecture Culture, 19431968: A Documentary Anthology (New York: Rizzoli, 1993).

Alison Smithson A, “Aujourd'hui, c'est les pubs que l'on collectionne = 'But today we collect ads'. Architecture D'aujourd'hui, January 2003;(344), pp.40-45.

Peter Cook, “The future of architecture lies in the brain” in Experimental Architecture (New York: Universe Books, 1970).

Assignment: bring a relevant quote from the readings for the group discussion following the instructor’s lecture

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WEEK 12 Tuesday, April 12th @ 12-2pm Guest Instructor: Cathryn Dwyre, Visiting Professor of Landscape Architecture at Pratt Institute Lecture & Readings TBA Thursday, April 14th Session 1 @ 9am-12pm | Instructor: Prof. Weichsel - BRUTAL Reyner Banham, “The new brutalism,” Architectural Review, December 1955;118, pp.354-361.

Alison and Peter Smithson, “Some Notes on Architecture,” 1954. Published in October, Vol. 136, No. 136, 2011, pp.37.

Kenneth Frampton, “New Brutalism and the Architecture of the Welfare State: England 1949-59,” in Modern Architecture: A Critical History, 1980.

Dirk van der Heuvel, “The diagrams of Team 10,” Daidalos, 2000;(74), pp.40-51.

Alison and Peter Smithson, “House of the Future” in Architect & Building News, Vol.209 (1956, March 15), pp.248-250.

Assignment: Student presentation of the readings and group discussion following the instructor’s lecture

Session 2 @12 noon – 2pm | Instructor: Prof. Kallipoliti - WASTE EXPERIMENTS Martin Pawley, “Garbage Housing” in Architectural Design, Vol. 41, No. 2 (1971), pp. 86-95.

Martin Pawley, “Chile and the Cornell Program” in Architectural Design, Vol 43, No. 12 (1973), pp.777-784.

Martin Pawley, “Garbage Housing” in Architectural Design, Vol. 43, No. 12 (1973), pp. 647-776.

Jane Bennet, “Powers of the Hoard: Further Notes on Material Agency” in Cohen, Jeffrey Jerome (Ed), Animal, Vegetable, Mineral: Ethics and Objects (Washington, DC: Oliphaunt Books, 2012), pp.237-272.

Lydia Kallipoliti, “Dross City,” Architectural Design (AD), No.208 (London: Wiley & Sons, November-December 2010), pp.102-109.

Assignment: Provide a written response of 150-200 words to the weekly readings and one image representative of the theme, with a caption. You should be able to participate in a group discussion following the instructor’s lecture and summarize the readings orally.

WEEK 13 Monday, April 18th @ 12-2pm Guest Instructor: Evangelos Kotsioris, PhD Candidate Princeton University & Assistant Curator of the Istanbul Biennial 2016 Lecture & Readings TBA Thursday, April 21st Session 1@ 9am-12pm | Instructor: Prof. Weichsel - TRANSPARENCY Colin Rowe, and Robert Slutzky, "Transparency: Literal and Phenomenal." Perspecta 8, (1963), pp. 45-54.

Manfredo Tafuri, Theories and history of architecture [translated from the Italian by Giorgio Verrecchia], (New York : Harper & Row, 1980), pp.1-11.

Paul Ricoeur, “The Function of Fiction in Shaping Reality” in Man and World 12 (1979).

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Galison, Peter. “Judgement against Objectivity” in Picturing Science, Producing Art. New York, Routledge, 1998: 327-357.

Assignment: Student presentation of the readings and group discussion following the instructor’s lecture Session 2 @12 noon – 2pm | Instructor: Prof. Kallipoliti - THE RISE OF THE NEO-CLASSICAL Rudolf Wittkower, Architectural Principles in the Age of Humanism (London: Warburg Institute, University of London,1949). [Read "Palladio's Geometry: The Villas."]

Colin Rowe, “The mathematics of the ideal villa: Palladio and Le Corbusier compared,” Architectural Review, 1947 Mar., v. 101, pp. 101-104.

Henry Millon, “Rudolf Wittkower, Architectural Principles in the Age of Humanism: Its Influence on the Development and Interpretation of Architectural Modernism,” American Society of Architectural Historians Journal, 1972 May, v. 31, n. 2, pp. 83-91.

Anthony Vidler, Histories of the Immediate Present: Inventing Architectural Modernism (Cambridge, MA : MIT Press, 2008), pp. 60-78.

Assignment: Provide a written response of 150-200 words to the weekly readings and one image representative of the theme, with a caption. You should be able to participate in a group discussion following the instructor’s lecture and summarize the readings orally.

WEEK 14 Monday, April 25th @ 12-2pm Guest Instructor: Joseph Godlewski, Assistant Professor Syracuse University Lecture & Readings TBA Thursday, April 28th Session 1@ 9am-12pm | Instructor: Prof. Weichsel - COLLECTIVE CONSCIOUSNESS AND MEGASTRUCTURES Denise Scott-Brown and Robert Venturi, “On Ducks and Decoration” in Joan Ockman, Edward Eigen (Eds), Architecture Culture, 1943-1968: A Documentary Anthology (New York: Rizzoli, 1993).

Kenneth Frampton, “America 1960-1970. Notes on Urban Images and Theory, Casabella, Vol.35, No.359-360, (December 1971), pp. 24-38.

G. Hardin. “Tragedy of the Commons” in Science 162 (1968): 1243-1248.

Reyner Banham, “A Home is not a House” (illustrated by Francois Dallegret), Art in America, Vol.53 (April1965), pp.70-79.R. Reyner Banham, “Megayear 1964” and “Epilogue: The Meaning of Megastructure” in Megastructure: Urban Futures of the Recent Past (New York, NY: Harper, 1970), 70‐83 and 196‐216.

Session 2 @12 noon – 2pm | Instructor: Prof. Kallipoliti - ECOLOGICAL CONSIOUSNESS AND WORLD PLANNING Gyorgy Kepes, “Art and Ecological Consciousness” in Gyorgy Kepes (Ed.) Arts of the Environment (New York: G. Braziller,1972).

Leo Marx, “The Ecological Ideal,” in Gyorgy Kepes (Ed.) Arts of the Environment (New York: G. Braziller,1972).

Migayrou Frederic, “Extensions of the Oikos” in Marie-Ange Brayer & Beatrice Simonot (Eds), Archilab’s Earth Buildings. Radical Experiments in Earth Architecture (London: Thames & Hudson, 2003), pp.21-27.

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Anthony Vidler, “Whatever happened to ecology? John McHale and the Bucky Fuller revival,” Architectural Design, November 2010;80(6), pp.24-33.

Assignment: Provide a written response of 150-200 words to the weekly readings and one image representative of the theme, with a caption. You should be able to participate in a group discussion following the instructor’s lecture and summarize the readings orally.

WEEK 15 Monday, May 2nd @ 12-2pm Guest Instructor: Gideon Fink Shapiro, Postdoctoral Candidate Yale University Lecture & Readings TBA Tuesday, May 3rd @ 9-11AM Instructor: Prof. Kallipoliti - COMPLEXITY DISCOURSE AND THE CITY Robert Venturi, “Complexity and contradiction in architecture,” Perspecta, 1965;9, pp. 17-56.

Peter Laurence, “Contradictions and Complexities: Jane Jacob's and Robert Venturi's complexity theories,” Journal Of Architectural Education, February 2006;59(3), pp.49-60.

Jane Jacobs, “The miniature boom,” Architectural Forum, May 1958; 108, pp.106-111.

Royston Landau, “Complexity,” Architectural Design, October 1972; 42(10), pp.608-647.

Assignment: Provide a written response of 150-200 words to the weekly readings and one image representative of the theme, with a caption. You should be able to participate in a group discussion following the instructor’s lecture and summarize the readings orally.

Thursday, May 5th @ 9-12pm Instructor: Prof. Weichsel – WORLD’S FAIRS - PRESENTING THE FUTURE Norman Bel Geddes, “Speed To-morrow” (1932), in Speed Limits. Montreal: CCA, 2009, 270- 271.

Eames, Charles and Ray Eames. https://archive.org/details/communications_primer

“Communications

Primer.”

Filmed

1953.

Bruno Latour, “What Does It Mean to Be Modern?,” in We Have Never Been Modern, 1991.

Raymond Williams, “When Was Modernism?,” [1987] in The Politics of Modernism, 2007.

George Simmel, “The Conflict in Modern Culture,” [1918].

Jacques Rancière, “An Intellectual Adventure,” in The Ignorant Schoolmaster, 1987.

ACADEMIC INTEGRITY Intellectual integrity and credibility are the foundation of all academic work. A violation of Academic Integrity policy is, by definition, considered a flagrant offense to the educational process. It is taken seriously by students, faculty, and Rensselaer and will be addressed in an effective manner. If found responsible for committing academic dishonesty, a student may be subject to one or both types of penalties: an academic (grade) penalty administered by the professor and/or disciplinary action through the Rensselaer judicial process described in this handbook. Academic dishonesty is a violation of the Grounds for Disciplinary Action as described in this handbook. A student may be subject to any of the following types of disciplinary action should disciplinary action

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be pursued by the professor: disciplinary warning, disciplinary probation, disciplinary suspension, expulsion and/or alternative actions as agreed on by the student and hearing officer. It should be noted that no student who allegedly commits academic dishonesty will be able to drop or change the grade option for the course in question.

A record of disciplinary action is permanently maintained by the Institute as noted below: RECORD OF DISCIPLINARY ACTION (2014-2016 Rensselaer Handbook of Student Rights & Responsibilities, August 2014, p.

15) Any disciplinary action can be disclosed to federal, state or local government entity, law enforcement, licensing or certification board, or corporate entity upon request of said agency if and only if: (a) by subpoena or (b) a student signs a confidentiality waiver for said agency or government entity.

The definitions and examples presented below are a sampling of types of academic dishonesty and are not to be construed as an exhaustive or exclusive list. The academic integrity policy applies to all students, undergraduate and graduate, and to scholarly pursuits and research. Additionally, attempts to commit academic dishonesty or to assist in the commission or attempt of such an act are also violations of this policy.

Academic Fraud: The alteration of documentation relating to the grading process. For example, changing exam solutions to negotiate for a higher grade or tampering with an instructor’s grade book.

Collaboration: Knowingly facilitating and/or contributing to an act of academic dishonesty. For example, allowing another student to observe an exam paper or allowing another student to “recycle” one’s old term paper or using another’s work in a paper or lab report without giving appropriate attribution.

Copying: Obtaining information pertaining to a graded exercise by deliberately observing the paper of another student. For example, noting which alternative a neighboring student has circled on a multiple-choice exam.

Plagiarism: Representing the work or words of another as one’s own through the omission of acknowledgment or reference. For example, using sentences verbatim from a published source in a term paper without appropriate referencing, or presenting as one’s own the detailed argument of a published source, or presenting as one’s own electronically or digitally enhanced graphic representations from any form of media.

Cribbing: Use or attempted use of prohibited materials, information, or study aids in an academic exercise. For example, using an unauthorized formal sheet during an exam.

Fabrication: Unauthorized falsification or invention of any information in an academic exercise. For example, use of “bought” or “ready-made” term papers, or falsifying lab records or reports.

Sabotage: Destruction of another student’s work. For example, destroying a model, lab experiment, computer program, or term paper developed by another student.

Substitution: Utilizing a proxy, or acting as a proxy, in any academic exercise. For example, taking an exam for another student or having a homework assignment done by someone else.

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modern worlds| Modernity in Culture, Civilization & Architecture 1

ARCH 4120 |Prof. Lydia Kallipoliti| Tuesday 12:00 -1:50pm |Sage 3510 |2 credits| Spring 2017

Man Ray: Ohne Titel (Reflexion in einem Autoscheinwerfer). 1940er Jahre

39426 | ARCH 4120| MODERNITY IN CULTURE, CIVILIZATION & ARCHITECTURE 1 | SECTION 02 38715| ARCH 5110| HISTORY, THEORY, CRITICISM 2 | SECTION 01 | MEETS WITH ARCH 4110/4120 Professor: Lydia Kallipoliti, PhD | email: kallil@rpi.edu | Office Hours: TBD Course Assistants: Christina Biasiucci, biasic@rpi.edu & Flavia Macchiavello, macchf@rpi.edu CATALOGUE COURSE DESCRIPTION An exploration of the idea of modernity as both a cultural phenomenon (extending back to Enlightenment ideas of progress, technological framing of the world, scientific rationality, historical consciousness, etc.) and as an artistic/architectural discourse unfolding in the 20th century as a radical requestioning of all traditional concepts of program, construction, and aesthetics. As such, this is both a theory and a history course.

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PREREQUISITES Undergraduate level ARCH 4090 Minimum Grade of D COURSE OBJECTIVES

Hemző Károly (1928-2012): Libegő (1983)

This course, as an element within the required sequence toward the B.Arch degree, serves to introduce students to the tradition of speculating about how our contemporary moment differs from the known past. Most generally termed modernity, this self-conscious reflexive state—focused on how we got to where we are now, and on where we might yet find ourselves—has long taken place within the field of architecture as well as within the world at large. Modernity in culture, then, reflecting a more general sense of the present’s singular and uncanny qualities, is not exactly identical with the sense of modernity explored by architects and those interested in the field’s future. The goal of the course is to explore the differences between architectural modernity and modernity at large, so as to inform students of architecture’s discursive debates and horizons.

COURSE CONTENT The History and Theory of 1. Late 18th Century Enlightenment thought, with an emphasis on aesthetic debates 2. The History and Theory of Architectural debates from the Nineteenth and Early 20th Century (prior to 1935) 3. Various understandings of Modern Architecture as a circumspect early 20th Century movement.

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COURSE TEXTS There is a list of textbooks which you may use throughout the semester as reference for the material delivered in the lectures. You may either purchase these books online or find them in the architecture library on reserve.

Please note that all readings will be posted on Blackboard and you may have electronic access of the required readings on a weekly basis.

Barry Bergdoll, European Architecture 1750-1890, Oxford History of Art, 2000.

Frampton, Kenneth. Modern Architecture: a Critical History, 4th. ed. (2007).

Adrian Forty, Words and Buildings: A vocabulary of Modern Architecture, Thames & Hudson, 2000.

William Curtis, Modern Architecture since 1900, Phaidon, 1996.

COURSE DESCRIPTION This course explores the various descriptions of modernity since the 19th century that have shaped or in turn been shaped by specifically architectural events. Among these events are the codification, around the globe, at different moments, in distinct locales, of those professions devoted to controlling the built environment; proposals of a new architectural style, befitting a never-before-imagined sense of contemporaneity; and reactions to global conflagrations that have decisively reshaped the connections and exchanges that constitute modern capitalism and modern socio-political life. In each of these, the presence of an ever-transforming set of technological methods and devises—such as the assembly line, the mass-production of steel, the invention of the combustible engine, development of the computer, and exploration of spaces beyond the norm of comfort levels for human life—has played a definitive role in the continuous unfolding of change.

Our journey assumes that modernity is both the symptom and the product of a mixture of different discursive registers, involving the sovereignty of scientific knowledge, unbounded philosophical reflection and conjecture, historical self-consciousness and a strong desire to eclipse all known technological progress. The course will conjecture that each architectural theory examined throughout the semester involves the construction of a “world” reflecting a definitive position within a larger cultural, political and economic setting. In this sense, architecture becomes the construction of worlds assembled out of movements, positions, key figures and patterns that could point to new directions and ways of knowing the eras in which we find ourselves.

In the first week, we will begin with key questions taking stock of different historic moments in order to enable our understanding of what might constitute an architectural manifesto, a treatise, a position, an atlas, and a theory of historical events or in other words a historical journey throughout time. From that point onward, in each class, we will examine one theme, which we will call in the framework of this course, a world.

Organizationally, in the first section of every class (12-1PM) the instructor will lecture on a theme introducing students to the various discourses. Consequently, one student team will make a public presentation to the class with the weekly readings and material, presenting an atlas of discourses, reflecting on the material. The presentation will be followed by a group discussion in class, be led by a team of designated student respondents.

The second part of the class will be held like a workshop session, where students will discuss their atlases and engage in a public conversation with their classmates.

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Thematically, we will move backwards in the arrow of time. We will begin with in the late 1930s, at the time when mainstream modernism had emerged in architecture, with known figures such as Walter Gropius, Mies van der Rohe, and Le Corbusier. Following the revision of key figures in the development of modern discourses, we will examine the role that architecture held as a discipline in a larger cultural, social and political global setting and the delve into the formative moments of the modern movement through the lens of nineteenth century aspirations for a total work of art.

We will then turn to the first activities of a self-proclaimed modernist “avant-garde,” given birth by nineteenthcentury social reformers and artistic and philosophical imagination within the framework of the industrial revolution. We will end the semester with a return to the cultural transformation of the nineteenth century originating from the rise of urbanity and the revolution of the French Enlightenment in collective thought and imagination.

DELIVERABLES & COURSE REQUIREMENTS

ATLAS of ideas and objects: Presentations Every Week

*Each student should register to present ONCE throughout the semester, in a team.

Every week, a designated team of students will be required to present an atlas of the ideas, discourses and key figures that distill the essence of the week’s theme. Who are the protagonists and what is their relationship?

How can the most important ideas be mapped using textual and visual information? The atlas assignment will be a collection of images and texts in the form of a timeline, a cloud or an aggregation of images.

The team of students assigned to present that week must read ALL the weekly readings and present the material to the class in an oral presentation.

The atlases should not only demonstrate that the team of students has read and engaged with the texts, but should also advance a discussion about the ideas in the texts. There are many approaches students can take in formulating a scholarly question. One such approach might use a sentence to respond to each of the following questions: What are the different authors arguing for? Why should we care? What quotation sums up the argument and its contribution? Which are the most persuasive, clearly stated and compelling arguments presented in the collection of the week’s readings? What questions do the readings provoke?

At the minimum, the atlas should include a description of the weekly theme of 300 words (for instance ‘glass’) and a list of images along with their captions. Always reference sources, so that we understand what each image is. You may use text to explain ideas and be descriptive, however do not be excessive in your descriptions. Each atlas should be presented digitally in Prezi format containing text and images selected by the students and mapping relationships. Please always include your name in the Prezi presentation.

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Designated Respondent: Atlas Inquiries Every Week *Each student should register to be a designated respondent ONCE throughout the semester.

A team of 5 students will be designated respondents to the session. These five students will be required to read all the readings for that week and ask questions of critical inquiry to their classmates, conducting the presentation. Peer review is a very important asset of academic communities as an evaluation metric system of fellow researchers. In these sessions each week, the intention is to learn from your fellow classmates and to enable your critical thinking as part of a public forum.

Midterm examination [quiz] On March 21, you will be required to take a midterm on lectures, as well a shortened list of the readings, presented to the class up until that point of the semester. The examination will be formatted in multiple choices, of 50 questions, graded for 2 points each. Some questions will present to you an image to identify. The grades of the exam will be given to you the week after the exam. Please note that you cannot miss this exam and that no electronic devices will be allowed in class during the examination. Please do not, under any circumstances try to cheat in this exam as you will automatically fail the class. Although this exam will be graded numerically, students will be evaluated for their overall performance throughout the semester, their critical insight and their effort in participating in class discussions and debates. *Note for Graduate Students attending this course as part of History, Theory, Criticism 2: You will not need to take a midterm examination quiz along with the undergraduate students. Your midterm examination will be an oral presentation on a case study building to the class. You will need to conduct research on presenting this building, assigned to you, and deliver a comprehensive presentation on the building, its significance in the large geopolitical setting, any format and structural components of the building that have been largely innovative and the architect. Your presentation is scheduled for 15-20 minutes on March 7.

Graphic Journals Each student will be expected to take notes during class in a journal specifically designated for the Modernity class. During class, you are encouraged to write and sketch as well as to write thoughts and inquiries in a way that you write your own history based on the material presented to you in the class. You are encouraged to purchase a Moleskine journal with blank pages and also use this to take noted while you are preparing your atlas presentations and your designated responses or your midterm. All journals will be collected on the last class and will be graded based on the breadth of material they cover and the inquiries registered in the journals.

Final Project: modernity worlds [illustrated booklet] The aim of this final assignment is to create a booklet that identifies your own theme, after examining all themes presented by the instructor on every class. The booklet should contain a text explaining the theme of approximately 1000-2000 words with proper bibliographic citations per the Chicago Manual of Style (http://www.chicagomanualofstyle.org/home.html). It should also contain images with proper captions and any other medium of your choice. The presentation of the booklet is up to the student. Students are encouraged to experiments with different methods of format and with different mediums, even crossing between printed matter and digital platforms. Your booklet needs to be submitted as a physical object of any format, however one may choose to have hyperlinks online and submit for example a tiny booklet. You should be as creative as you possible

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with the architecture of the booklet. If treatises in the 19th century were written with ink on papyrus, what is the best medium to write a treatise today and leave it for historians of future generations to find? For inspiration you may visit: http://futureofthebook.org/blog/ The final booklet should be submitted in a printed and digital format (PDF and word file). On the date of the final review, we will assemble a collection from all the booklets in a school-wide exhibition and invite an external jury to discuss the work produced in the class as a collective anthology. *How to write proper bibliographical citations: •

1.

• • • •

•

Always put in quotations any phrase you copy from another source, either this source is online or from a PDF or book, magazine etal. For example, if I copy a phrase from Le Corbusier's Five points on architecture, this is the way to do it: "The roof gardens will display highly luxuriant vegetation. Shrubs and even small trees up to 3 or 4 meters tall can be planted."1 Le Corbusier, Towards a new architecture, translated from the thirteenth French edition with an introduction by Frederick Etchells, (New York: Dover Publications, 1986), p.23.

If you copy more than 2-3 phrases from any text, the copied text should be indented from the rest of the text in your paper, not in quotations, but with a footnote at the end, just like the previous example.

WIKIPEDIA cannot be a bibliographical reference in your papers. It is only used for fact checking and is in fact a very useful source, but if used more than once in a paper, the research component in this paper will be sorely lacking proper academic references.

You cannot use ONLY online sources for your papers. It is required that you do bibliographical research and research on your topic in architectural and other publications using the Avery index for architectural periodicals and other databases.

If you use in your papers an idea outlined in another source, but you rephrase this idea, you still need to use footnotes and make a citation, just not in quotations. So for example, if I mention that Le Corbusier's intention for vegetation was a luxurious type of vegetation and not an unruly one. 1 (use citation) Booklets with no research, no footnotes and no bibliography will NOT BE ACCEPTED.

Final Project: modernity worlds [illustrated booklet] LEARNING OBJECTIVES 1. Students will understand the parallel and divergent histories of architecture and the cultural norms of a variety of indigenous, vernacular, local, and regional settings in terms of their political, economic, social, ecological, and technological factors.

2. Students will understand the diverse needs, values, behavioral norms, physical abilities, and social and spatial patterns that characterize different cultures and individuals and the responsibility of the architect to ensure equity of access to sites, buildings, and structures.

3. Students will discern the cultural characteristics of differing architectural events, as well as to analyze basic principles entailed in relating architecture to other cultural phenomena.

4. Students will be able to reflect on architecture’s discursive debates and horizons by reflecting their thoughts in a larger historical and cultural context from the enlightenment onward.

5. * FOR GRADUATE STUDENTS: Students will be able to evaluate relationships between advances in technology, art and culture and their relation to architectural debates.

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6. * FOR GRADUATE STUDENTS: Students will learn how to conduct research, including the ability to explore sources of knowledge external to the discipline of architecture.

LEARNING OUTCOMES 1. Students will have demonstrated ability to respond critically to a variety of topics in the history of culture, architecture and civilization since the enlightenment.

2. Students will have demonstrated capacity to discern and analyze basic principles entailed in relating architecture to other cultural phenomena.

3. Students will have demonstrated ability to write about selected architectural phenomena (realized buildings, unrealized projects and urban spaces/places/realms) in their own words.

4. Students will be able to demonstrate a working knowledge of the use of citations and attributions in scholarly writing and presentations.

5. * FOR GRADUATE STUDENTS: Students will have demonstrated ability to conduct research based on archival material.

6. * FOR GRADUATE STUDENTS: Students will have demonstrated ability to perform an oral presentation on their own research in a public forum as part of their midterm review.

METHOD OF EVALUATION Attendance, participation and submission of assignments will be recorded by the course assistant. The midterm assignment will be evaluated a week after its submission. Students will have enough Attendance, Discussion, and Essay scores posted by the middle of the semester to reasonably determine their likeliness of passing.

Class Attendance and Participation: 10% Atlas project and presentation: 20% Designated Respondent Performance: 10% Midterm examination: 20% Student journals: 20% Final Project- Illustrated Booklet: 20%

GRADING CRITERIA A (94%-100%) / A-(90%-93%) work ("Superior") shows a comprehensive and mature grasp of the material presented. It demonstrates a student's capacity to consider issues fairly but critically, in new contexts and with reference to broader insights about modern architecture. "A" work demonstrates superior writing skills, proper citations, an aptitude for originality and flair, and an unwavering willingness to go beyond the standard arguments, clichĂŠs, etc. "A" work suffers from very few (usually no) errors relating to grammar, spelling, referencing, paragraph development and sentence structure.

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B+ (87%-89%) / B (83%-86%) / B- (80%-82%) work ("Good") shows a solid grasp of the material presented.

However, it typically lacks the originality, nuance and detail of "A" work. "B" work shows that the material has been read and studied, but it is less impressive than "A" work, specifically in terms of the level of reflection, curiosity, textual support and/or analytical insight. "B" work may also suffer from several errors relating to grammar, spelling, citations, paragraph development and sentence structure. A less solid grasp of the material and/or the more writing errors will push the grade down.

C+ (77%-79%) / C (73%-76%) / C-(70%-72%) work ("Average") shows some understanding of the material but is generally marred by analytical gaps, factual inaccuracies and/or missed opportunities for greater clarity. It also suffers from frequent writing problems and/or inadequate/improper citations.

D+ (65%-69%) / D (61%-64%) work ("Inferior") shows very limited understanding of the material; very limited evidence of reading; inadequate reflection; poor writing and inadequate and/or improper citations. "D" work is poorly structured, weak and/or partial in conception and delivery.

Failure ("Unacceptable"). So limited, poorly organized or misinterpreted as to justify a clear fail. Often characterized by very poor presentation, organization and writing, and inadequate and/or improper citations.

ATTENDANCE AND PARTICIPATION POLICY The scope of this class is to cultivate an environment that challenges your understanding about history and theory research, fostering student interaction and participation. It is expected that every student come to all sessions prepared to discuss their ideas, the ideas of others and having submitted the assigned material. Verbal participation will be the measure of this, be it in the form of questions, challenges, clarifications, or arguments.

Attendance is extremely important to learn and master the history, culture, and analysis of modern architecture.

Your insight and participation during discussions are a critical part of the class. We all learn from each other's perspectives; if you miss class, you will miss learning from these insights. Being clear-headed in discussion involves not just reading the assignments, but thinking about them, so allow yourself some time for reflection. If you have to miss a class, please inform the Professor in writing by email. This course has required attendance at Lectures and Discussion Sections, and it is expected that all required readings will be completed BEFORE Lectures and Discussion Sections. Attendance and participation will be recorded during all scheduled Discussion Session meetings.

You are allowed to miss two classes throughout the semester. Three unexcused absences will result in the lowering of your grade by 1 letter. Four unexcused absences during the term result in an automatic grade of F. You may not leave class early or arrive late in class. During class, you may not use any electronic devices including laptop computers. During class, you may not sleep, or work on other assignments. You are strongly encouraged to take notes and sketch in analog form in your journals and participate in the class sessions. Any distractions from the course material. The use of cellphones during class is disallowed.

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WRITING CENTER I strongly recommend that students with even minor difficulties with writing or expressing thoughts in written form, set up an appointment with the RPI Writing Center before handing in weekly reading summaries.

Summaries with major problems with sentence structure, grammar and spelling will be returned to the student for a redo. RPI Writing Center: http://ccp.appointy.com

COURSE SCHEDULE AND READINGS WEEK 1 | January 24: INTRODUCTION [LECTURE]: WHAT IS ARCHITECTURAL HISTORY? Adrian Forty, “History,” in Words and Buildings: A Vocabulary of Modern Architecture (New York, N.Y: Thames & Hudson, 2000).

Dana Arnold, “Reading the Past: What is Architectural History?” in Reading Architectural History (London: Routledge, 2002).

Benjamin H. D. Buchloh, “Gerhard Richter’s Atlas: The Anomic Archive” in October 88 (MIT Press, Spring 1999), pp.117-145.

Mark Wigley, "Whatever Happened to Total Design," in Harvard Design Magazine (Summer 1998), pp. 18-25.

[LECTURE]: ARCHITECTURE OR REVOLUTION / UTOPIA OR OBLIVION Le Corbusier, Toward an Architecture, trans. John Goodman (London: Frances Lincoln / Getty Trust, 2007), first published in French as Vers une architecture (Paris: G. Cres, 1924), pp.1-8.

R. Buckminster Fuller, “Invisible Future,” San Francisco Oracle 11 (December 1967).

Fredric Jameson, Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions (New York: Verso, 2005), pp.142-181.

Harry Francis Mallgrave, “Utopia or Oblivion; The Image of the 1960s”, online article https://e-pub.uniweimar.de/opus4/files/1314/mallgrave.pdf WEEK 2 | January 31: INTERNATIONAL [LECTURE & ATLAS PRESENTATION]: TRADE, WAR & THE INTERNATIONAL STYLE Le Corbusier, “Five Points Towards a New Architecture,” 1926.

Le Corbusier, The City of Tomorrow, 1924.

CIAM, “Charter of Athens: Tenets,” 1933.

Henry Russell. Hitchcock, Philip Johnson, The International Style, 1932.

Optional: Jean Louis Cohen, “Modernism in Uniform,” Wars of Classification (63-81) Michael Sorkin, "The Avant-Garde in Time of War," All over the Map (New York: Verso, 2011), 82–6.

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Alan Colquhoun, “The Significance of Le Corbusier,” in Modernity and the Classical Tradition: Architectural Essays 1980-1987 (MIT Press, 1991), p. 163-191.

WEEK 3 | February 7: TECHNIQUE [LECTURE & ATLAS PRESENTATION]: BAUHAUS & THE DEUTSCHER WERKBUND Gropius, Walter. "The Theory and Organization of the Bauhaus." 1923. In [Harrison, Charles, and Paul Wood, eds. Art in Theory 1900-2000: An Anthology of Changing Ideas. 2nd ed. Blackwell Publishing, 2002.

Walter Gropius, “Programme of the Staatliches Bauhaus in Weimar,” 1919 & “Principles of Bauhaus Production,” 1926.

Koss, Juliet. "Bauhaus Theater of Human Dolls." The Art Bulletin 85, no. 4 (2003): 724–45.

Kenneth Frampton, "Bauhaus," in Modern Architecture: A Critical History (London; New York: Thames & Hudson, 2007), Chapter.14.

Hermann Muthesius, Henry Van de Velde, “Werkbund Theses and Antithesis,” 1914.

Stanford Anderson, “Deutscher Werkbund—the 1914 debate: Hermann Muthesius versus Henry van de Velde,” Companion to Contemporary Architectural Thought WEEK 4 | February 14: MASS [LECTURE & ATLAS PRESENTATION]: THE SOCIALIST AVANT GARDE IN POST-REVOLUTIONARY RUSSIA Maria Gough. "Formulating Production," in The Artist as Producer: Russian Constructivism in Revolution.

University of California Press, 2005, Chapter 3.

Christina Kiaer. "The Socialist Object." in Imagine No Possessions: The Socialist Objects of Russian Constructivism. MIT Press, 2005, Chapter 1.

Catherine Cooke, The Avant Garde (AD magazine, 1988).

Benjamin, Walter. "The Work of Art in the Age of Mechanical Reproduction." 1936. Online https://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm WEEK 5 | February 21 * no class* RPI classes follow Monday schedule WEEK 6 | February 28: ORGANIC [LECTURE & ATLAS PRESENTATION]: THEORIES OF ORGANICISM AND ORGANIZATION Raymond Williams, ―Organic ‖ in Keywords: A vocabulary of culture and society revised edition, New York: Oxford University Press, 1985, pp. 227-229.

Bruno Zevi, ―Meaning and scope of the term Organic in Modern Architecture ‖ in Towards an organic architecture. London, Faber & Faber [1950] 66-76.

Sigfried Giedion ―The Urge towards the Organic ‖ and ―On the limits of the Organic in Architecture‖ in Space Time and Architecture: The Growth of a new Tradition , Harvard University Press, 1991. pp. 414-419, 873-875.

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Hugo Häring ―Approaches to Form‖ in Form and function : a source book for the History of architecture and design 1890-1939 / Tim and Charlotte Benton, with Dennis Sharp. London ; New York : Granada, 1980, pp.

103-105.

Paul Weiss, ―Organic Form: Scientific and Aesthetic Aspects‖ in Gyorgy Kepes editor, special issue of Daedalus Winter 1960, 177-189.

Frank Lloyd Wright, An organic architecture; the architecture of democracy Cambridge, M.I.T. Press [1970, c1939], pp. 9-22.

Detlef Mertins, ―Living in a Jungle: Mies, Organic Architecture and the Art of City Building ‖ in Phyllis Lambert ed.

Mies in America (CCA/MIT Press 2001), pp: 590-642.

WEEK 7 | March 7: CASE STUDIES [GRADUATE STUDENT LECTURES & GROUP DISCUSSION]: Altes Museum, Berlin (1823-30) by Karl Friedrich Schinkel.

Crystal Palace, London (1851) by Joseph Paxton.

Bibliotheque Nationale de France, Paris (1854-75) by Henri Labrouste.

Sagrada Familia, Barcelona (1883) by Antoni Gaudi.

WEEK 8 | March 21: MIDTERM QUIZ WEEK 9 | March 28: SURREAL [LECTURE & ATLAS PRESENTATION]: AVANT-GARDE AND CRITICAL PARANOIA Breton, Andre. Excerpts from "The First Manifesto of Surrealism." 1924. In Harrison, Charles, and Paul Wood, eds. Art in Theory 1900-2000: An Anthology of Changing Ideas. 2nd ed. Blackwell Publishing, 2002.

Bataille, Georges. "The Lugubrious Game." 1929. In Harrison, Charles, and Paul Wood, eds. Art in Theory 19002000: An Anthology of Changing Ideas. 2nd ed. Blackwell Publishing, 2002.

Tristan Tzara “Concerning a Certain Automatism of Taste” (1936) in The Surrealists look at art: Eluard, Aragon, Soupault, Breton, Tzara (Venice, CA: Lapis Press, 1990).

Anthony Vidler, “Homes for Cyborgs” in The Architectural Uncanny . MIT Press 1992, pp. 146-164.

Neil Spiller. “Architectural education and critical paranoia” in Architectural design 2001 Feb., v.71, n.1, p.60-65.

Salvador Dali, “Concerning the Terrifying and Edible Beauty of Art Nouveau Architecture – The Phenomenon of Ecstasy” (1933) and “Aerodynamic Apparitions of Beings-Objects” (1934) in The Collected Writings of Salvador Dalí edited and translated by Haim Finkelstein, Cambridge U. Press 1998, pp. 193-210.

Ingrid Schaffner, Salvador Dalí’s Dream of Venus: the surrealist funhouse from the 1939 World’s fair, Princeton Architectural Press 2002.

Frederick J. Kiesler. “On correalism and biotechnique: a definition and test of a new approach to building design”, Architectural Record 1939 Sept., v. 86, p. 60-75.

Frederick J. Kiesler. “Design-correlation: from brush-painted glass pictures of the Middle Ages to [the] 1920's” Architectural record 1937 May, v. 81, p. 53-59.

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WEEK 10 | April 4: ORNAMENT [LECTURE & ATLAS PRESENTATION]: ORNAMENT: JONES, RIEGL, LOOS Owen Jones, ―Preface – General Principles-List of Plates-Ornaments of Savage Tribes‖ in The Grammar of Ornament illustrated by examples from various styles of ornaments (c1856) foreword by Jean-Paul Midant, L‘Aventurine, Paris 2001, pp. 7-21.

Alois Riegl, ―Introduction ‖ and ―The Introduction of Vegetal Ornament and the Development of the Ornamental Tendril –Near Eastern-Egyptian Ornament‖ in Problems of Style (Stilfragen c1892) trans. Evelyn Cain, Princeton U. Press 1994, pp. 3-13 and 48-83.

Anthony Vidler, Dal tatuaggio al monile: architettura come ornamento = From tattoo to trinket: architecture as adornment Ottagono 1990 Mar., no.94, p.16-35.

Mark Wigley, The fashioning of modern architecture. Rassegna 1998, v.20, n.73, p.30-50.

Adolf Loos, ―Ornament and Crime‖ (1998) and ―Ornament and Education‖ in Ornament and Crime: Selected Essays selected and with an introduction by Adolf Opel, transl. Michael Mitchell Ariadne Press: Riverside, California pp. 167-176 and 184-190.

Gottfried Semper, The Four Elements of Architecture (1851): 101-29.

Joseph Rykwert, ―Architecture is all on the surface: Semper and Bekleidung.‖ Rassegna 1998, v.20, n.73, p.2029.

WEEK 11 | April 11: CRAFT [LECTURE & ATLAS PRESENTATION]: THE AFTERLIVES OF ART NOUVEAU: NEO-ROCOCO, NEO-BAROQUE AND NEO-LIBERTY Sigfried Bing, ―l‘Art Nouveau‖ The Craftsman, New York, vol. V, 1903-04, 1-15.

Sigfried Bing, ―l‘Art Nouveau‖, The Architectural Record, New York, vol. XII, 1902, pp. 279-85.

Nikolaus Pevsner ―Art Nouveau‖ in Pioneers of modern design, from William Morris to Walter Gropius.

Harmondsworth, Middlesex] (first edition 1936, revised in 1960) Penguin Books [1968] pp.90-117.

Henri van de Velde, ―The line‖ (Die Linie) from Essays (1910) draft English translation pp: 39-74.

Reyner Banham ―Neo-Liberty: The Italian Retreat from Modern Architecture,‖ The Architectural Review, April 1959,vol. 125, p. 230-235.

Henry van der Velde: ―Animation of Material as a Principle of Beauty [Die Belebung des Stoffes als Prinzip der Schoenheit]‖ in Essays (Leipzig, 1910) translation by Anna Kathryn Schoefert and Spyros Papapetros in Pidgin 2, 2007, pp; 232-254.

Mari Hvattum, “Crisis and correspondence: style in the nineteenth century” in Architectural Histories, 2013, v.1, no.1.

Peter Eisenman, “The Gesamtkunstwerk as an open system” in Lotus international, 2004, no.123, pp.22-27.

Adolf Loos, “Poor Little Rich Man” in Ornament and Crime: Selected Essays (Riverside, CA: Ariadne Press, 1998).

Adolf Loos, “Ornament and Crime” in Ulrich Conrads, Programs and manifestoes on 20th-century architecture (Cambridge, MA: MIT Press, 1970), pp.19-24.

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WEEK 12| April 18: URBANITY [LECTURE & ATLAS PRESENTATION]: THE CITY AT THE FIN-DE-SIÈCLE Georg Simmel, “The Stranger,” 1903.

David Frisby, “Analysing Modernity: Some issues,” Tracing Modernity: Manifestations of the Modern in Architecture and the City, pp. 3-22.

Louis Sullivan, “The Tall Office Building Artistically Considered,” 1896.

Frank Lloyd Wright, “Home in a Prairie Town,” 1901.

Edgar Allen Poe, “The Man of the Crowd,” 1864 Erik Larson, The Devil in the White City, 113-22, 235-42, 282-89.

Patrick Geddes, Cities in Evolution: An Introduction to the Town Planning Movement and to the Study of Civics (Williams & Norgate, 1915).

Volker Welter, Biopolis: Patrick Geddes and the City of Life (Cambridge, MA: MIT Press, 2002), pp.1-53.

Ebenezer Howard, “Introduction,” Garden Cities of Tomorrow,” 1898.

WEEK 13 | April 25: REASON [LECTURE & ATLAS PRESENTATION]: STYLE, AESTHETICS & ORDER PAST THE ENLIGHTENEMNET: LAUGIER, PERRAULT, VIOLLET-LE DUC Marc-Antoine Laugier, Essay on Architecture, 1753: “Preface,” “Introduction,” 1–38.

Michel Foucault, “What is Enlightenment?” (1984).

Eugene Emmanuel Viollet-le-Duc, “Style,” The Foundations of Architecture (1854), 231-63.

Optional: Adrian Forty, “Order,” in Words and Buildings: A Vocabulary of Modern Architecture (New York, N.Y: Thames & Hudson, 2000).

Lucia Allais, “Ordering the Orders: Claude Perrault's Ordonnance and the Eastern Colonnade of the Louvre,” Future Anterior 2:2 (Winter 2005): 52-74.

Victor Hugo, “This Will Kill That,” Book V, Section II, Notre-Dame de Paris (1831): online http://www.bartleby.com/312/0502.html John Ruskin, “The Nature of the Gothic,” Stones of Venice (1853), online http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page151 WEEK 14 | May 2: UTOPIA [LECTURE & ATLAS PRESENTATION]: AN IDEAL SOCIETY: BOULLEE, LEDOUX, DURAND Étienne-Louis Boullée, Essay on the Art of Architecture, 1778-1788: “Introduction,” “Character,” “Reflections on Architecture in Particular,” and “Recapitulation,” 83-85, 89-90, 109-14.

Jean-Nicolas-Louis Durand, Précis of the Lectures on Architecture with Graphic Portion of the Lectures on Architecture (Santa Monica: Getty Research Center, 2000), 73–88.

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Anthony Vidler, “The theatre of production: Claude-Nicolas Ledoux and the architecture of social reform” in AA Files (1981-1982 Winter), vol.1, no.1, pp. 54-63.

Teresa Stoppani, “The vague, the viral, the parasitic: Piranesi's metropolis” in Footprint: Delft architecture Theory Journal (Autumn 2009), no.5, pp.147-160.

Giambattista Piranesi, “Thoughts on Architecture” in Oppositions (1984 Spring), no.26, pp.5-25.

Barry Bergdoll, European Architecture 1750-1890, Oxford History of Art, 2000, pp. 91-102.

Anthony Vidler, “Spaces of Production: Ledoux and the Factory Village of Chaux,” The Writing of the Walls (1987), 35–49.

ACADEMIC INTEGRITY Intellectual integrity and credibility are the foundation of all academic work. A violation of Academic Integrity policy is, by definition, considered a flagrant offense to the educational process. It is taken seriously by students, faculty, and Rensselaer and will be addressed in an effective manner. If found responsible for committing academic dishonesty, a student may be subject to one or both types of penalties: an academic (grade) penalty administered by the professor and/or disciplinary action through the Rensselaer judicial process described in this handbook. Academic dishonesty is a violation of the Grounds for Disciplinary Action as described in this handbook. A student may be subject to any of the following types of disciplinary action should disciplinary action be pursued by the professor: disciplinary warning, disciplinary probation, disciplinary suspension, expulsion and/or alternative actions as agreed on by the student and hearing officer. It should be noted that no student who allegedly commits academic dishonesty will be able to drop or change the grade option for the course in question.

A record of disciplinary action is permanently maintained by the Institute as noted below: RECORD OF DISCIPLINARY ACTION (2014-2016 Rensselaer Handbook of Student Rights & Responsibilities, August 2014, p.

15) Any disciplinary action can be disclosed to federal, state or local government entity, law enforcement, licensing or certification board, or corporate entity upon request of said agency if and only if: (a) by subpoena or (b) a student signs a confidentiality waiver for said agency or government entity.

The definitions and examples presented below are a sampling of types of academic dishonesty and are not to be construed as an exhaustive or exclusive list. The academic integrity policy applies to all students, undergraduate and graduate, and to scholarly pursuits and research. Additionally, attempts to commit academic dishonesty or to assist in the commission or attempt of such an act are also violations of this policy.

Academic Fraud: The alteration of documentation relating to the grading process. For example, changing exam solutions to negotiate for a higher grade or tampering with an instructor’s grade book.

Collaboration: Knowingly facilitating and/or contributing to an act of academic dishonesty. For example, allowing another student to observe an exam paper or allowing another student to “recycle” one’s old term paper or using another’s work in a paper or lab report without giving appropriate attribution.

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Copying: Obtaining information pertaining to a graded exercise by deliberately observing the paper of another student. For example, noting which alternative a neighboring student has circled on a multiple-choice exam.

Plagiarism: Representing the work or words of another as one’s own through the omission of acknowledgment or reference. For example, using sentences verbatim from a published source in a term paper without appropriate referencing, or presenting as one’s own the detailed argument of a published source, or presenting as one’s own electronically or digitally enhanced graphic representations from any form of media.

Cribbing: Use or attempted use of prohibited materials, information, or study aids in an academic exercise. For example, using an unauthorized formal sheet during an exam.

Fabrication: Unauthorized falsification or invention of any information in an academic exercise. For example, use of “bought” or “ready-made” term papers, or falsifying lab records or reports.

Sabotage: Destruction of another student’s work. For example, destroying a model, lab experiment, computer program, or term paper developed by another student.

Substitution: Utilizing a proxy, or acting as a proxy, in any academic exercise. For example, taking an exam for another student or having a homework assignment done by someone else.

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ENVIRONMENT CLOUD ATLAS | A Collection of Environmental Manifestos in the Twentieth Century

ARC 642 | Architectural Theory & Design Research | Thursdays 5:15-8:05pm | Room 202 Slocum Hall | Spring 2014

Professor: Lydia Kallipoliti | email: lydiakal@syr.edu Teaching Assistant: Christopher James Malone |email: chmalone@syr.edu

This seminar will investigate architecture’s agency between social reality and creative fiction throughout a series of real and imagined environments narrated and drawn as manifestos in times of intense political and economic uncertainty.

From Peter Sloterdijk’s Foam City to Frederick Kiesler’s Correalism and Biotechnique and Patrick Geddes’ Cities in Evolution, we will move through texts from the 21st century to the 19th century, to explore utopian visions of rebuilding the world anew and extruding reality to a total reconstruction project of physical space, social order and living patterns.

The journey via these imagined environments will allow us to witness that in the history of ideas, discourses get recycled. In many respects the future has already been imagined in one way or another. Concepts emerge as allegedly new, though ideas undergo long journeys of migration from one epistemological field to another. In our discipline, the permission to reproduce, translate or even “misuse” information, to observe and transform existing material and ideological structures, endows architecture with its creative potential.

The structure of the course will be based on Italo Calvino’s Invisible Cities. Each class will focus on a different type of environmental narrative --foam city, garbage city, enclosed city, animal city, aquatic city, farmed city, edible city, evolving city, endless city-- accompanied by a series of readings from the original author, as well as supporting related

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bibliography. Each student team will be required to select a section (out of the list) and make one extensive presentation throughout the semester.

Parallel to the reading list and the bibliographical material, each class will focus on a research initiative: an unintentional exurban reality almost invisible to our perception. The environments we will be focusing are an extrusion of fiction through quite real; they exist beyond our sight, but constitute large-scale territories with drastic environmental impact. Students who choose to make presentations on the research initiative, rather than the readings, will need to act as intellectual detectives and reporters intertwining common itineraries between the history/theory of each section and the material reality. In the presentations, students will be required to issue of a research report combining different sources from news journals, encyclopedia entries, scholarly articles, oral histories and videos. The intent behind this conceptual “collapse” is to depict the occasional solipsism of the historical narrative and confront it with a crude realism of materiality. At the same time, the objective is to examine critically the naiveté of many environmental approaches that are purely geared by functional parameters, veiling design decisions behind the pretentious foray of social responsibility. From early nineteenth century natural science to Jane Bennet’s Vibrant Matter, Timothy Morton’s Ecology after Nature and Hyperobjects, we will move towards building a history that reflects how biological and environmental processes can invade the social sphere and ultimately the stability of the built realm. In a new reality inundated with sudden climatic changes, garbage-packed metropolises, methane gas clouds from landfills, paraeconomies of electronic waste and oceanic islands of decomposed and recomposed debris, a new role is cast to the notion of environment. Instead of being the inactive, static and historicized context of an architectural object, the environment quite literally becomes the object of design itself.

The aim is to create a joint narrative of traveling between text from the theoretical and historical investigation and real territories – photographs, movies, drawings and other visual investigations of “invisible” urban realities. We will compose a visual and textual story as an extrusion of social reality. Each entry will combine text, documentation, drawings and diagrams in a way that best communicates the ideas, interests, architectural strategies, and techniques of analysis. Students will be encouraged to experiment with the format and methods of their work.

ATLAS NOTES

An atlas is a map that follows the trajectory of a certain theme, concept or idea through different time periods, locations and portrayals from different authors. The atlas allows us to bring images together by following certain conceptual or iconographic affinities that are not limited to a single place, era, author or style. This assignment is a way of building your own history and outlook of the environments enlisted in the bibliography by rearranging and reclassifying the material you studied in the lectures; also by combining different media like text blurbs, images, diagrams, future 3d representations and historical material. Your atlas should convey an idea of how you envision the way that the relationship between the architecture of the city and its representation in different media and narratives has evolved in time by following a single strand, a particular type of urban narrative. In this way, you may suggest alternative suggestions and trace new hyperlinks between the actual urban space and fictions of the city.

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Drawing things together—something that architects do as part of the design process—involves visual epistemologies, which fundamentally impact our formation of knowledge. In this course, we will revisit forms of theoretical assemblage such as a dictionary, an encyclopedia, an anthology, a material library, a catalog of theoretical diagrams and infographics, a collection of timeless and other formats in order to explore and evaluate how architectural knowledge is formed and distributed. Considering different formats of putting together pieces of context will allow you to develop and design your argument through a field of different media.

Finally, we will produce in collaboration (the whole class and instructor) a collective visual storytelling blog tracing stories of the imagined environments created throughout the class, the cities extruded from the literature and the actual real exurban locations that we will be researching throughout the semester. The blog will include diagrams, timelines, drawings, collages, texts, images interpreting the relationships of different environmental narratives, surveying the causes and effects of their rise and demise. The collective storytelling atlas will become an open-source online collaborative platform where different creators, collectives, ideas and projects will mix and remix. The final product of the class will be an online environment cloud atlas, as a conceptual ecology of the ideas and narratives discovered throughout the course of the class.

DELIVERABLES & COURSE REQUIREMENTS *All assignments will be organized in teams of two, both for the weekly assignments as well as for the final project.

Weekly assignments: -Every week a team of two students will be assigned to make a 20 minute presentation of the readings and produce an atlas where the different concepts come together in a combination of visual and textual format.

- Every week a team of two students will be assigned to make a 20 minute presentation on the research initiative, the real environments, after scanning and censoring different resources online and bibliography, articles, videos. The research team should report videos and images important to include in the blog and make a case which combines social reality with creative fiction based on the readings.

- Students can choose to either select a presentation on the list of readings or make a research presentation. Following the two presentations, every week, there will be a debate between the two teams where the whole class can participate.

- In the nine thematic sections, there will be 18 teams assigned to a particular narrative or research section.

- Every week, students who are not presenting will be required to submit online a written paragraph of 300-600 words and a constructed image as a critique of the readings confronted with the research of each section. This collection will contribute to the formation of a collective anthology for the class.

Final project: ‐ Each team will be required to write a 1000-1500 word narrative explaining their concept of the environment confronting the historical narrative and readings with the real environment we will be researching.

-Each team will be required to create an atlas (24’’x36’’) crafting a unique narrative that is communicated through a combination of visuals: renderings, typical architectural drawings (plans, sections, elevations), diagrams, infographics, and a text-based narrative. ‐ All teams should collaborate in teams of two ENVIRONMENT CLOUD ATLAS | KALLIPOLITI |||||||||||||||||||||||||||||||||| page | 3

COURSE SCHEDULE AND READINGS January 16 | Introduction to the Seminar January 23 | CLOUD ATLAS Presentation & Group Discussion | Submit 2 paragraphs as a response to the readings and a one-page fictional environment based on Calvino’s imagined cities Italo Calvino (Translated from the Italian by William Weaver), Invisible Cities (New York: Harcourt Brace Jovanovich, 1974).

Benjamin H. D. Buchloh, “Gerhard Richter’s Atlas: The Anomic Archive” in October 88 (MIT Press, Spring 1999), pp.117145.

Mark Wigley, "Whatever Happened to Total Design," in Harvard Design Magazine (Summer 1998), pp. 18-25.

Reyner Banham, “Stocktaking: Architecture After 1960” in Architectural Review 127, 755 (January-June 1960).

Movie: Cloud Atlas by Lana & Andy Wachowski & Tom Tykwer (2012)

January 30 | FOAM ENVIRONMENT [ Peter Sloterdijk’s Foam City ] Student Presentations & Group Discussion | Submit 1 paragraph and one image on readings and research by 10am Peter Sloterdijk, “Foam City,” Log 9 (Winter–Spring 2007), pp. 63–76.

Peter Sloterdijk, “Cell Block, Egospheres, Self‐Container,” Log 10 (Summer–Fall 2007), pp. 89–108.

Peter Sloterdijk, “Foams,” Harvard Design Magazine 29 (Fall–Winter 2008–9), pp.38–52.

Reyner Banham, “The Triumph of Software” in New Society (31 October 1968), pp.629-630.

Reyner Banham, “A Home is not a House” (illustrated by Francois Dallegret), Art in America, Vol.53 (April 1965), pp.7079.

Slavoj Zizek, “EXAMINED LIFE: on ECOLOGY,” You Tube, http://www.youtube.com/watch?v=9LxkmO7hnM0 Research Initiative of the week: Styrofoam disposal, PCBs, persistent pollutants and bioaccumulation

February 6 | NO CLASS* Professor’s studio field trip to New York FILM SCREENING DURING SEMINAR TIME| Submit a paragraph film critique by 02/09 Garbage Dreams by Mai Iskander (2009) | Ecological Design; Inventing the Future by Chris Zelov (1994) February 13 | EVOLVING ENVIRONMENT[Patrick Geddes’ Cities in Evolution] Student Presentations & Group Discussion | Submit 1 paragraph and one image on readings and research by 10am Patrick Geddes, Cities in Evolution: An Introduction to the Town Planning Movement and to the Study of Civics (Williams & Norgate, 1915).

Volker Welter, Biopolis: Patrick Geddes and the City of Life (Cambridge, MA: MIT Press, 2002), pp.1-53.

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Manuel de Landa, "The Non-Linear Development of Cities” in Amerigo Marras (Ed), ECO-TEC: Architecture of the InBetween (New York: Princeton Architectural Press, 1999), p. 23-31.

Stephen Marshall and Michael Batty, “From Darwinism To Planning – Through Geddes and Back” in Town & Country Planning (November 2009), pp.462-464.

Felix Guattari "The Object of Ecosophy," in Amerigo Marras (Ed), ECO-TEC: Architecture of the In-Between (New York: Princeton Architectural Press, 1999), p. 10-21.

Research Initiative of the week: Ship breaking in India and Bangladesh

February 20 | GARBAGE ENVIRONMENT [Martin Pawley’s Garbage Housing] Student Presentations & Group Discussion | Submit 1 paragraph and one image on readings and research by 10am Martin Pawley, “Garbage Housing” in Architectural Design, Vol. 41, No. 2 (1971), pp. 86-95.

Martin Pawley, “Chile and the Cornell Program” in Architectural Design, Vol 43, No. 12 (1973), pp.777-784.

Martin Pawley, “Garbage Housing” in Architectural Design, Vol. 43, No. 12 (1973), pp. 647-776.

Martin Pawley, Garbage Housing (London: Architectural Press, 1975), pp. 47-114.

Witold Rybczynski, “From Pollution to Housing” in Architectural Design, Vol. 43, No. 12 (1973), pp.785-790.

Jane Bennet, “Powers of the Hoard: Further Notes on Material Agency” in Cohen, Jeffrey Jerome (Ed), Animal, Vegetable, Mineral: Ethics and Objects (Washington, DC: Oliphaunt Books, 2012), pp.237-272.

Lydia Kallipoliti, “Dross City,” Architectural Design (AD), No.208 (London: Wiley & Sons, November-December 2010), pp.102-109.

Research Initiative of the week: Electronic Waste Paraeconomies, E-waste Villages in Guiyou, China and Lagos, Nigeria February 27 | CORREAL ENVIRONMENT [Frederick Kiesler’s Correalism and Biotechnique] Student Presentations & Group Discussion | Submit 1 paragraph and one image on readings and research by 10am Frederick Kiesler, “Space house” in Architectural Record, Vol.75 (Jan. 1934), pp. 44-61.

Frederick Kiesler, “On Correalism and Biotechnique: A definition and test of a new approach to building design” in Architectural Record, Vo.86 (Sept. 1939), pp.60-75.

Frederick Kiesler, “Design-Correlation: Certain Data Pertaining to the Genesis of Design by Light (photography) I-II” in Architectural Record, Vol. 82, (1937 July) pp. 89-92 ; (Aug.1937), pp. 79-84.

Frederick Kiesler, “Design-Correlation: Towards Prefabrication of Folk-Spectacles: Scientific Development of Sound Reproduction Proves an Important Influence on Architectural Design Theaters” in Architectural Record, Vol. 86, (June 1937), 93-96.

Frederick Kiesler, “Design-Correlation: From Brush-Painted Glass Pictures of the Middle Ages to [the] 1920's” in Architectural Record, Vol. 81 (May 1937), pp. 53-59.

Frederick Kiesler, “Design-Correlation: Animals and Architecture” in Architectural Record, Vol.81, (Apr. 1937), pp. 8792.

Frederick Kiesler, “The Architect in Search of Design-Correlation” in Architectural Record, Vol.81, (Feb. 1937), pp. 6-15.

William W. Braham, “What's Hecuba to him? On Kiesler and the Knot” in Assemblage, No.36 (Aug. 1998), pp.6-23.

Stephen Phillips, “Toward a Research Practice: Frederick Kiesler’s Design-Correlation Laboratory” in Grey Room 38 (MIT Press: Winter 2010), pp. 90–120.

Research Initiative of the week: Toxic Sublime, River Contamination by Smelting, Aquifer Pollution

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March 06 | AQUATIC ENVIRONMENTS [Wolf Hilbertz’s Mineral Experiments] Student Presentations & Group Discussion | Submit 1 paragraph and one image on readings and research by 10am Margaret Cohen, “Fluid States” in Cabinet, Issue No.16: The Sea (Winter: 2004/2005), pp.75-82.

Keller Easterling, “The Confetti of Empire,” in Cabinet, Issue No.16: The Sea (Winter: 2004/2005).

Wolf Hilbertz, “Electrodeposition of Minerals in Sea Water: Experiments and Applications,” IEEE Journal on Oceanic Engineering, Vol. OE-4, No.3 (1979), pp.94-113.

Wolf Hilbertz, “Toward CyberTecture,” Progressive Architecture (May 1970), pp.98-103.

McHale, John. “The Future of the Future: Inner Space.” Architectural Design 37 (February, 1967), pp. 64-95.

Katavolos, William. “Organics,” in Ulrich Conrads (Ed.), Programs and Manifestoes on the 20th Century Architecture (Cambridge, MA: MIT Press, 1970), pp.163-165.

Gordon Pask, “A Proposed Evolutionary Model,” H.von Foerster and G.W. Zopf, Jr. (Eds.), Principles of Self Organization: Transactions of the Illinois Symposium, (New York: Harper, 1961), pp: 229-254.

Research Initiative of the week: The Great Pacific Gyre, Ocean Garbage Patches, Plastic Soup March 13 | NO CLASS* SPRING BREAK March 20 | ANIMAL CITY [Street Farmers’ magazine & The Cyborg Manifesto] Student Presentations & Group Discussion | Submit 1 paragraph and one image on readings and research by 10am Bruce Haggart & Peter Crump (Eds), Street Farmer (No.1 & No.2), (London, UK: Self-Published Journal, 1971-1972).

Bruce Haggart & Peter Crump (Eds), Collages for the magazine Street Farmer (No.1 & No.2), (from the archives of Peter Crump, Bristol, UK).

Catherine Ingraham, Architecture, Animal, Human: The Asymmetrical Condition (London: Routledge, 2006), pp.1-29, 81-90.

Migayrou Frederic, “Extensions of the Oikos” in Marie-Ange Brayer & Beatrice Simonot (Eds), Archilab’s Earth Buildings.

Radical Experiments in Earth Architecture (London: Thames & Hudson, 2003), pp.21-27.

Anthony Vidler, “Homes for Cyborgs; Domestic Prosthesis from Salvador Dali to Diller and Scofidio,” Ottagono, No.96 (1990), pp. 37–55.

Donna Haraway, “Manifesto for Cyborgs: Science, Technology and Socialist Feminism in the 1980s” in Socialist Review, no. 80 (1985), pp. 65–108.

Research Initiative of the week: Garbage and animal Coptic region outside of Cairo, Egypt March 27 | ENCLOSED CITY [John McHale’s Outer Space Vehicles and Terrariums] Student Presentations & Group Discussion | Submit 1 paragraph and one image on readings and research by 10am John McHale (Ed), “The Future of the Future” in 2000+ issue of Architectural Design (February, 1967).

Peder Anker, “The Ecological Colonization of Space,” in Environmental History (April 2005), pp. 239‐268.

Peder Anker, “The Closed World of Ecological Architecture,” in The Journal of Architecture, Vol.10, No.5 (2005), pp.

527-552.

Lydia Kallipoliti, “Return to Earth: Feedback Houses,” The Cornell Journal of Architecture, Issue 8: RE (Ithaca, NY: Cornell University, 2011), pp.24-35.

Lydia Kallipoliti, “Feedback Man,” Log. No.13/14, Any Corporation, pp.115-118.

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Eva Diaz, “Dome Culture in the Twenty-first Century”, Grey Room 42 (MIT Press: Winter 2011), pp. 80-105.

Janette Kim and Erik Carver, “Crisis in Crisis: Biosphere 2’s Contested Ecologies,” Volume, Bootleg Edition Urban China (February 2009).

Research Initiative of the week: Data Farms & The Physical Infrastructure of the Cloud

April 03 | NO CLASS* Thesis Reviews FILM SCREENING DURING SEMINAR TIME| Submit a paragraph film critique by 04/06 2001: A Space Odyssey by Stanley Kubrick (1968) | Brazil by Terry Gilliam (1985) April 08 |CLASS ON TUESDAY THIS WEEK* Student Presentations & Group Discussion | Submit 1 paragraph and one image on readings and one digital drawing for the blog layout Jane Bennet, Vibrant Matter: A Political Ecology of Things (Durham: Duke University Press, 2010).

Jennifer Peeples, “Toxic Sublime: Imagining contaminated Landscapes” in Environmental Communication, Vol. 5, No. 4, (December 2011), pp. 373-392.

Timothy Morton, Hyperobjects: Philosophy and Ecology After the End of the World (Minneapolis, MN: University of Minnesota Press, 2013).

BLOG PINUP/ FOR EVERYONE: Please create teams and devise a digital drawing on the organization of the online platform as the class’s collective project

April 17 | CLOUD ATLAS WORKSHOP In this class, we will work as a group to devise and develop notation systems for combining the atlases of each individual group. Following the seminar, groups should work collectively to produce the cloud atlas for the final presentation.

April 24 | FINAL REVIEW with invited jury Final presentation of collective Cloud Atlas and City Atlases from student teams. Jury TBD.

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Method of Evaluation Class Participation and Reading Responses: (30%) ‐ Attend each class ‐ Play an active role in reading discussions and project critiques during class ‐ Provide a textual and visual response to the readings assigned in each class

Class Presentation: (30%) ‐ Make one 20 minute presentation of one selected section which will evolve to your environment atlas.

- Depending on the number of enrolled students, you will be able to form teams of two for the class presentations and the atlases.

Paper and Atlas Paper Final Project: (40%)

Attendance and Class Participation The scope of this class is to cultivate an environment that challenges your understanding about theory and design research, fostering student interaction and participation. It is expected that every student come to all sessions prepared to discuss their projects, the projects of others, and having submitted the assigned material. Verbal participation will be the measure of this, be it in the form of questions, challenges, clarifications, or arguments.

Participation includes attendance, verbal participation in pin-ups, critiques, workshops and tutorials and contributions to discussions. You may not leave class early or arrive late in class. All assignments throughout the semester need to be submitted digitally every week by 10am to the seminar teaching assistant Chris Malone. You will also need to bing your material in class both digitally and in a hard copy at every class.

Language Language which reflects sex stereotypes, contains demeaning references toward women, or which excludes women is incompatible with gender equality. Where language reflects a bias against women, it reinforces barriers to women’s full and equal participation in society. Gender-neutral language addresses all individuals — women and men — and recognizes their contributions. Equality in language may take the form of parallel treatment for women and men, the inclusion of women, and the elimination of demeaning or stereotypical terms. Strive for overall gender balance in your written and spoken communications. Your audience is made up of both men and women, so you should address yourself to them equally. Use inclusive, rather than exclusive, language and use gender-marked terms fairly. Adapted from The Law Society of British Columbia’s Model Gender- Neutral Language Policy. (www.lawsociety.bc.ca/ services/Practice/docs/Policy-Language.doc, accessed 9.20.2004)

Research Basics & Credit Students must credit the derivation of quotes, textual passages, photos, diagrams, etc.

It is recommended that students, at a minimum, conduct basic research in the following ways: 1. Syracuse Library search for topic for BOOKS (Barbara Opar assistance available) and Electronic Resources (for proxy access to online content from Wiley, Routledge etc.)

2. For ARTICLES, use the Avery Index, available under Databases> Architecture on the SU Library Website 3. Google Scholar for ARTICLES (instructions: under “More” tab in Google search)

Accommodations Our community values diversity and seeks to promote meaningful access to educational opportunities for all students.

Syracuse University and I are committed to your success and to supporting Section 504 of the Rehabilitation Act of 1973 as amended and the Americans with Disabilities Act (1990). This means that in general no individual who is otherwise qualified shall be excluded from participation in, be denied benefits of, or be subjected to discrimination under any program or activity, solely by reason of having a disability.

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If you believe that you need accommodations for a disability, please contact the Office of Disability Services (ODS), http://disabilityservices.syr.edu, located at 804 University Avenue, room 309, or call 315-443-4498 for an appointment to discuss your needs and the process for requesting accommodations. ODS is responsible for coordinating disability related accommodations and will issue students with documented disabilities “Accommodation Authorization Letters,” as appropriate. Since accommodations may require early planning and generally are not provided retroactively, please contact ODS as soon as possible.

Faith Tradition Observances SU’s religious observances policy, found at http://supolicies.syr.edu/emp_ben/religious_observance.htm, recognizes the diversity of faiths represented among the campus community and protects the rights of students, faculty, and staff to observe religious holy days according to their tradition. Under the policy, students are provided an opportunity to make up any examination, study, or work requirements that may be missed due to a religious observance provided they notify their instructors before the end of the second week of classes. Academic requirements will be made up on the next class after the observance if it involves the submission of work. For all other requirements, students who have made notification in the first two weeks of the semester will work with the professor to figure out an appropriate makeup of the work.

Excused Absences for Medical Reasons Excuses for class absences for medical reasons will be given only if such absences are advised by a health care provider at the Health Center, based on clinical findings and prescribed treatment recommendations. Excused notes will not be given solely to confirm a visit to the Health Center. For complete details on excuse notes, visit: http://health.syr.edu/students/policies.html.

Policy on Student Academic Work It is the policy of the School of Architecture, in compliance with the Federal Family Educational Rights and Privacy Act, to make reproductions of selected student projects as required for educational purposes. It is understood that registration for and continued enrollment in this course where such use of student work is announced constitute permission by the student. Faculty may use academic work that you complete this semester in subsequent semesters for educational purposes. Before using your work for that purpose, we will either get your written permission or render the work anonymous by removing all your personal identification.

Academic Integrity The Syracuse University Academic Integrity Policy holds students accountable for the integrity of the work they submit.

Students should be familiar with the Policy and know that it is their responsibility to learn about instructor and general academic expectations with regard to proper citation of sources in written work. The policy also governs the integrity of work submitted in exams and assignments as well as the veracity of signatures on attendance sheets and other verifications of participation in class activities. Serious sanctions can result from academic dishonesty of any sort. See http://academicintegrity.syr.edu for more information and the complete policy.

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