INTERMEDIATE 7 2011 / 2012

EASTERN PROMISES: INCUBATOR GALLERIES

Prospectus Statement:

Intermediate 7 is concerned with transfers between conflicted urban systems, relying on design infrastructures

to align formal and programmatic strategies. Learning from Moscow’s sophisticated materialism, we will

exploit clashes between culture and commerce to define new hybrid typologies.

Diverging artistic and entrepreneurial resources have severely hindered the development of Moscow as a

global cultural center, with paradoxical coexistence of cultural refinement and commercial excess at its core.

However, tensions between public institutions and private networks, confined collections and dynamic outlets,

as well as display spaces and creative products suggest latent possibilities. We will be rigorously opportunistic

to convert such artificial ruptures into generative associations. By advancing experimental formats of

pragmatic research and speculative design, we will reconcile the Russian extremes of grandiose museums and

makeshift markets, imposing salons and underground dealerships, as well as gigantic expo-cities and miniature

pop-ups.

Unit interventions will activate a sequence of underperforming sites outside segregated social circuits by

installing new mediators between creative hubs and shopping routes. We will amalgamate exhibition zones,

retail areas, cultural institutes, studios, archives, etc., developing new types of ‘incubator galleries’ – able to

attract, nurture and proliferate a range of commercial and cultural events. As both subject and product,

‘design’ will affect display media and filing structures on several scales.

Relying on synthetic ‘infrastructures’, we will accommodate spatial and functional, static and dynamic,

imposed and emergent components. Diagramming, mapping and graphic analysis will expose active

‘elements’ in juxtaposed urban sites and typologies. Contrasting elements will be combined in conceptual

frameworks and physical prototypes. Formal prototypes will poach diagrams of production-display-

consumption, while concrete program structures shortcut to graphic shapes and intricate surfaces. We will

pursue a ‘plastic fit’ between form and program inspired by case-studies from leading contemporary practices.

The logic of loose control will inform how we curate and manage at the levels of city, building and content.

Diagrammatic tools will allow discrete transpositions between urban and architectural concepts and forms.

Alternating between social and spatial effects, we will assemble beautiful apparatuses and imageable

condensers. Our ‘galleries’ will emerge from the mix of diagrammatic matrices and seductive renderings,

composite drawings and intricate models. Theoretical and practical products will be collated in extensive

‘catalogues’ of urban scenarios, design models and final artifacts.

KEY STAGES OF WORK:

TERM 1

Exercise 1. APPEARANCE / OPERATION

Display Devices and Augmented Elements

We will jump-start unit work with two short drawing and mapping exercises, trying several conceptual and

graphic approaches to both spatial and programmatic elements. Working in small teams, you will sample

London sites defining the range of source typologies from museum to store (from Tate Modern and Barbican

to Vyner Street galleries and Selfridges). We will look at different exhibition space and their links to auxiliary

programs. To focus our tests, we will extract characteristic display ‘devices’ (e. g. plinth, frame, panel,

container, etc.) and connect them to architectural ‘elements’ (e. g. wall, stall, façade, corridor, etc.)

Using a combination of documentation and drawings techniques introduced during a workshop, we will

manipulate how the device looks (appearance) vs. how it works (operation). Integrating devices into larger

elements, you will augment them in terms of attraction and performance, developing them in relationship to

product and body. Culminating in a hybrid drawing, the exercise will test how formal variations affect patterns

of interaction, circulation and distribution. The augmented elements will also begin to affect display media and

filling systems on larger scales.

Output: device ‘operations manual’ (drawings, mappings, a study model); augmented element (hybrid drawing –

appearance + operation); unit-wide: catalogue of gallery ‘elements’.

Exercise 2. ELEMENT / INFRASTRUCTURE

Element Transfers and System Exchanges

We will proceed to a second, brief design exercise, transforming the London sample site through an

augmented element. You will transfer your elements into another host typology (e. g. from museum to a store),

re-shuffling two site “experts” into a new team. Introducing the unit’s methodology, we work on two key

scales – element vs. infrastructure – as well as draw on case-studies from contemporary practices additional

catalysts. Following a seminar / workshop on mapping and diagramming, you will record intersections

between several infrastructural systems, such as display, storage, circulation, service, etc. Exploring how a

particular system would accommodate foreign elements, you will pursue propagating effects of such an

adjustment, emphasizing maximum effect with minimum intervention. Juxtapositions of formal structures and

program diagrams will open up broader discussions of cross-pollinated typologies. Setting the stage for

research | design in Moscow, you will practice working on a micro-scale of the city through an architectural

element, while learning to relate to broader contexts.

Output: exchanged London site: composite maps, map-drawings and visual essays; unit-wide: catalogue of typological

diagrams and case-study prototypes.

IN CONTEXT: PRAGMATIC RESEARCH AND DESIGN PROVOCATIONS

Moscow Research, Diagnostics and Catalogue

Testing experimental formats of pragmatic research and speculative design, we will launch a project on the

‘Moscow Catalogue’ (Cultural + Commerce). The Catalogue will attempt to reveal compromises between

public institutions and private networks, confined collections and dynamic outlets, as well as display spaces

and creative products. In anticipation of the trip, we will tap into underutilized artistic and entrepreneurial

resources of turbulent Moscow. We will try to reconcile the Russian extremes of grandiose museums and

derelict markets, imposing salons and underground dealerships, as well as gigantic expo-cities and miniature

pop-ups - looking for hidden rules behind inconsistencies.

We will query symptomatic texts and case-study projects in the context of Moscow ‘paradoxes’:

Control / Freedom: (e. g. master-plans and mega-structures of expansive cultural centers and expos vs.

transient fields of display units and ad hoc uses; top-down cultural revitalization programs vs. bottom-up

proliferation of private markets and gallery networks);

Stability / Instability (e. g. persistent planning regulations and formal shells vs. parasitic galleries, makeshift

markets and migrant public institutions; permanent façades and exhibition vs. trade turnovers);

Expression / Suppression (e. g. iconic museums and landmark trade centers vs. contained gallery conversions,

inaccessible archives and marginalized markets).

Original paradoxes will open up avenues for research on specific city domains (e. g. images, spaces,

typologies, events, collections, etc.) driven by a set research themes (e. g. art and economic control; art

production and consumption; curatorial agency of architecture; city as a museum and market; local and global

cultural trade; etc.) Using thematic framework, we will mine Moscow context for transferrable design

inventions. Revealed inventions will suggest alternative ways to resolve design tensions in our interventions.

We will use two methods simultaneously: ‘diagrammatic diagnostics’ and ‘graphic condensation’ Diagrams

will extract key principles of operation and condense spatial and programmatic structures; graphics will

visually associate hidden patterns of exchange, and build a local vocabulary of shapes and patterns. Between

diagrams, images and texts, we will expose latent transitional urban strategies, design approaches and

curatorial operations.

Curatorship will become central not only in relationship to exhibiting products, but also in manage our

emerging designs and unit outputs. Play with conceptual filters, extract and re-constructions will add power to

our research conclusions and design ‘provocations’ (see Exercise 3 below). Following a unit trip, we will

curate the AA exhibition and the accompanying ‘Moscow Catalogue’ as a published volume (beginning of

Term 2; tbc).

Exercise 3. DESIGN PROVOCATIONS

Moscow Prototypes, Transplants and Rejects

Our pragmatic research will be directly linked to design ‘provocations’. Alluding to critical utopias of “paper

architecture”, provocations will aim for maximum graphic and conceptual impact without constraint of scope,

practicality or methodology. Learning from Moscow’s pragmatic approach, we will stage clashes of commerce

and culture and exagerrate their architectural effects. Building upon idiosyncratic mixtures that challenge

established typologies, we will put forward both architectural hypothesis and urban scenarios.

Design hypotheses will be tested in quick exercises on select Moscow sites. With particular attention to the

primary leisure plus entertainment circuits such as Boulevard Ring, we will tackle a series of potential

application sites ‘in-between’ segregated cultural and commercial spheres, ranging from landscape segments

and block voids to contested buildings and infrastructures. You could either choose one of the proposed sites

or suggest an alternative one to fit your agenda, while specifying its relationship to the unit’s extended urban

circuit.

Earlier exercises on gallery elements and infrastructures will need to react to Moscow site’s unique

predicaments and resources. You will once again transplant your gallery elements and systems, and ‘augment’

using excavations and projections on the proposed site. This way, your provocations will occupy a strategic

position at the intersection of ‘exported’ and ‘imported’ design models. This exercise will help you make the

most of the unit trip, flagging key case-studies, city itineraries and site options in advance.

Output:

‘Moscow Catalogue’ (Culture + Commerce): thematic chapters (in teams) and inset projects (individual);

Design provocations (individual) - hybrid plates: images, posters, visual essays, etc. + maps, diagrams, drawings

(selections to be included in Moscow Catalogue);

Moscow trip plan: itineraries, key case-studies and target sites.

TERM 2:

Intervention 1: DESIGN INFRASTRUCTURES

Incubator Infrastructures, Elements and Prototypes

Our interventions will activate a strategic sequence of underperforming Moscow sites by installing new

mediators between creative hubs and shopping routes. You will define programmatic content in addition to the

core exhibition zones (such as retail areas, cultural institutes, studios, archives, theaters, mediateques,

exploratoriums, restaurants, landscapes, etc.). Customized briefs will call for new types of ‘incubator galleries’

– able to attract, nurture and proliferate a range of commercial and cultural events. You will also be able to

finetune the thematic focus of exhibitions within a broader category of ‘design’ - from artistic objects to

architectural projects. The logic of ‘loose control’ will inform the way we begin curate at the levels of the

building and content – attuned to product categories, display elements and filing systems.

In order to incorporate heterogeneous element while allowing for growth and change, we will resort to

synthetic site infrastructures. ‘Infrastructure’ will be interpreted as an advanced design systems, developed on

two interconnected levels – program and form. You will assemble, layer and hybridize several systems of

elements within conceptual frameworks and material prototypes. Frameworks will bring together diagrams of

dissimilar devices / elements and account for their interactions over time. Design versatility will draw on

practical applications of multi-element theoretical models of infrastructure (while observing how networks,

fields and ecologies relate to megastructures, mat-buildings and mechanical structures in design practice). The

seminars and workshops will provide additional tools to address common design tensions – such as the

problem of translating organizational infrastructure into forms and patterns. You will be able to discretely

convert your infrastructure, moving from abstract diagrams to design models and finally to formal prototypes.

Drawing on advanced modeling and prototyping techniques, you will initiate a building set of material

elements that would continue to evolve and mutate as they inhabit a dense site model.

Output: site infrastructure (diagrammatic templates, layered axo-maps, scenario sections, composite models); site

elements: study models and / or a set of 3d prints.

Intervention 2: FORM / PROGRAM

Gallery Affiliations, Decorated Diagrams and ‘Plastic Fit’

Helping you concretize your infrastructure at the level of the building, Stage 2 will focus on the power

struggle between form and program. You will face the need to specify new programmatic links and formal

affiliations between accumulated elements, adjusting your prototypes in response to conflicting demands. For

program, you will respond to displaced functions, additional flows or continuous use cycles; for form, you will

need to support multiple grounds, nested envelopes and layered surfaces.

To open up new adjustment options, we will high-jack a conventional design track, opting for an opportunistic

“zigzag” between formal and programmatic practices, methods and processes. Suspectible to various

influences, we will be willing to try dissimilar approaches on our “soft” prototypes but travel light –

dispensing with ideological baggage, methodological guilt and graphic consistency. After passing introductory

“courses” such as “Green Dots” (after R. E. Somol), you could also enroll in workshops on Decorated Ducks,

Figured Functions, System Shapes, Expedient Intricacy, etc. With a focus on ‘decorated diagrams’, you will

access technique to help you loosen up a functional structure in pursuit of a particular graphic effect. Both

programming form and formalizing program, you will destabilize conventional tight or loose fit between the

two domains and speculate on a superior ‘plastic’ fit. Proceeding through leaps and shortcuts, we will be able

to tweak and collide structures of form and program, suggesting thicker typologies.

Exercise 4: Combined Arsenals and Plastic Prototypes

To help saturate and accelerate your project, we will run a parallel research + design exercise on combined

arsenals from diagram-driven contemporary practices. At each key turn of the project, you will analyze and

poach a key diagram from a relevant contemporary project, slowly weaving together a project that straddles

divided camps of form and program. These camps will be anchored by Peter Eisenman (+ Greg Lynn, Reiser

& Umemoto, FOA, NOX, Asymptote, R & Sie, etc.) vs. Rem Koolhaas / OMA (+ Bernard Tschumi, Field

Operations, SANAA, Diller & Scofidio, MVRDV, etc.). Your projects will occupy a zone between these two

camps, two figures or two specific case-studies. Armed with arsenals from both sides, you will advance a

‘plastic fit’ manifesto and a brief design manual.

Output: Form + Program: diagrammatic models; applied combined prototypes; presentation quality physical model;

Gallery proposal (diagrams and key drawings: plans, sections, elevations);

‘Plastic Fit’ Manifesto and Design Manual

TERM 3

Intervention 3: MULTIPLIED EFFECTS

Beautiful Apparatus: Infrastructural Formalism and Dual Impact

During the last stage of the project, we will refine our galleries in terms of efficiency and effect. We will

proceed to re-make crucial ‘segments’ of the gallery infrastructures and mechanisms in physical models and

drawings. Coming back full circle to our first exercises, we will try to balance appearance with operation.

Having learned the advantages of deliberate slippages and mis-fits, we will be able to engage in two

concurrent pursuits. On one hand, we will clarify infrastructural organization and programmatic performance

of our incubators in synthetic drawings and maps. On the other hand, we will unleash visual and atmospheric

impact of both gallery spaces and installations, using enhanced images and graphic provocations. We will not

let rational evaluations of compelling engineering of our devices, condensers and mixers to interfere with our

irrational reactions to desirable objects and seductive environments. . Workshops will focus on exploiting the

gap between dissimilar concerns in line with ‘infrastructural formalism’: programmatic vagueness and visual

clarity; assembly and cosmetics, diagram and image, etc. Alternating between social and spatial effects, we

will assemble ‘beautiful apparatuses’ and ‘imageable condensers’. The projects will be resolved both in terms

of efficient organization and visual attraction. For final presentations and portfolios, we will re-map multiple

effects of the project at the levels of product, building and city.

Output: two-tier project documentation (detailed drawings, renderings, simulations + program diagrams, scenarios,

phasing plans); final segment model; revised site infrastructure, design provocation, urban scenario, etc.

TECHNICAL STUDIES STATEMENT

Systems and Elements

This year, Inter 7 will integrate Technical Studies into the design process by focusing on spatial structures and

systems and their influence on form and program. Prioritizing structural and material ‘systems’ and their key

‘elements’, you will interrelate two key scales of design. You will not only build a technical foundation for an

advanced formal solution, but also test the “fit” between two key design systems – formal and programmatic -

revising your spatial structures vis-à-vis programmatic diagrams.

Striving for a holistic approach to ‘design infrastructures’, we will accommodate interactions between multiple

abstract and concrete, conceptual and material systems. We will work closely with Technical Tutors and

invited consultants to address issues of stability, support, and enclosure as well as operation, growth and

change. Technical research and experimentation with spatial frameworks will open ways to add, exchange and

hybridize spaces and uses. We will be alert to opportunity costs: a structural system can allow or prevent

extended processes of subdivision, transformation and reprogramming of gallery spaces; while a material

element solution will limit options for filing, transfer and display of products.

We envision the following key options for ‘systems’ in the TS submission, customized to individual targets

and briefs. First, given the importance of urban and disciplinary contexts, it could be an augmentation of the

existing building (Moscow site or target object) or a typological case-study (museum, gallery, store, etc.). In

such cases of “adaptive re-use”, you could focus on negotiations between inherited and colonizing structures,

considering parasitic, additive or composite options. You could analyze how the existing system works and

how it is constructed, while speculating on effects of removals, substitutions and attachments. This option

would be also useful for those seeking to combine borrowed elements and structures into a hybrid ‘incubator’.

All contributing case-studies will be challenged on a deeper “structural” level in order to move beyond

conventional support and enclosure solutions.

Another option would be to develop variations of integrated structural / formal systems in response to

programmatic requirements. This option would catalyze experimentation with ‘plastic fit’ between form and

program. You would try to not only translate a program diagram into a spatial structure, but also let enhanced

structure alter provisional diagrams. Some examples from recent practice and past unit work include:

alternating structural floors for support and service vs. non-structural floors for fluid reprogramming;

circumscribing large interior voids for public spaces and events within dense stratified structures for generic

uses such as storage or display; integrating surface and structure to enable smooth form while streamlining

programmatic flows; thickening and layering grounds surfaces to complement institution program; etc.

Finally, you could focus on a local sub-system that helps mediate between two or more larger systems of the

building. You could start with a transition point and / or active zone that plays a defining role in your gallery.

Considering how to undertake underground construction, to span over or envelope several structures, or to

create an autonomous interior volume, you will need to pay particular attention to large-span, retaining, and

floating systems for ingenious solutions.

Regardless, TS will emphasize specific ‘elements’ and their role within a system. The elements could range

from gallery ‘units’ to display ‘devices’ and could be detailed either structurally or materially. When material

research is crucial to performance, exploration of inventive ingredients, processes and assemblies could drive

the design development at the micro-scale of an element.

As the unit emphasizes links between research and design, particular attention will be paid to case-studies

from Moscow context and contemporary practices that rely on technical innovation for their performance. TS

experiments with systems and elements will be carried out using diagrams and detail models, conceptual

analyses and intricate drawings. For those projects emphasizing material resolution of the element, physical

models and samples will be essential. The outlined options are based on the assumption that technical

questions will originate in three design exercises on elements and infrastructures from Term 1, and that the TS

development will align with Interventions 1 and 2 during Term 2 (Late TS option).

OUTCOMES:

We will approach portfolio as a curated ‘exhibition’ of graphic outputs, an edited ‘collection’ of statements

and manifestos, as well as a ‘line’ of marketable design products. We will generate conceptually ambitious

and graphically dense compendia that emphasize the interplay of ideas, experiments, influences, accidents and

post-rationalizations. Theoretical and practical products will be collated in extensive ‘catalogues’ of urban

scenarios, design models and visual artifacts.

Final portfolios will draw on the vast archive of outputs, including:

Cogent project statements and manifestoes set in appropriate theoretical context;

Design exercises on augmented commercial / cultural sites, their devices, elements and infrastructures

(maps, drawings, hybrid map-drawings, visual essays);

Analysis / projection exercises, abstracting key elements and system of sample sites and transposing

them into design infrastructures (diagrammatic templates, matrices and diaries; serial drawings);

Design | research chapters of the ‘Moscow Catalogue’ and exhibition products (essays and visual

essays, pamphlets, condensed images, diagrammatic analyses, etc.);

Design provocations (posters, diagrams and drawings);

Design infrastructures and elements (diagrammatic maps, composite drawings, layered / collapsed

models, element 3d prototypes, etc.);

Form / program prototypes (case-study scenarios, diagrammatic models, hybrid drawings and

combined prototypes);

Gallery building proposal (two-tier, full design documentation: fragment models, synthetic drawings,

augmented images, etc.);

Plus any other creative documentation of inspiration, resources, processes, side-effects and / or

repercussions of the project.

By being a part of this research | design unit, you will learn how to:

- channel research and design, responding to urban contexts and relevant precedents via informed and

polemical projects;

- think and work on both abstract and concrete levels, using a range of advanced visual and conceptual tools to

convert ideas into tangible deliverables;

- project diagrammatic and infrastructural systems that reconcile multiple constituents and exceed a building

in terms of impact;

- renovate design methods and technique to aid translations between several scales and stages of the project:

from urban site to building, from organization to space, from diagram to form, etc.

- connect theory and practice, efficiently using theoretical debates and precedents to propel your inventions,

while generating new concepts and theories during your design process.

PRELIMINARY SCHEDULE

TERM 1

Week 2 – 3:

EXERCISE 1: APPEARANCE / OPERATION

Display Devices and Augmented Elements

Analysis and Extraction from Cultural and Commercial sites, London, UK / Augmented ‘Elements’ in Context

Workshop: Drawing the Element’s Form and Program

Pin-up

Week 4 – 5:

EXERCISE 2: ELEMENT / INFRASTRUCTURE

Element Transfers and System Exchanges

Research | Design: Operations Manual / Urban Element

Workshop: Mapping Elements and Infrastructures

Seminar: Mapping and Diagramming: Graphic Typologies and Analytical Categories

Process Jury

HTS / Unit Research Proposals

Week 6: Open Week

Workshop: Projective Representation (tbc)

Week 7-11:

IN CONTEXT: Pragmatic Research + Design Provocations

Moscow Paradoxes + Latent Solutions; “Moscow Catalogue”

Research Themes Revised / Teams – Expert Allocation; Shared Research Database Initiated

Diagrammatic Analysis: Resource Compilation, Analysis and Modeling

Graphic Condensation: Augmented Images, Posters, Cartoons and Visual Essays

Workshops: Diagrammatic Diagnostics; Sampling The Image of the City

Seminar: Urban Conflicts and Infrastructures – Student Presentations

Research | Design: Manifestos + Speculations

Research | Design: Gallery Elements / Analysis to Projection

Charette: Design provocation 1

Process Jury

Week 9-11:

EXERCISE 3: Moscow Prototypes, Transplants and Rejects

Exercise Transplant and Design Provocation

Cultural and Commercial Typologies and Precedents – East / West

Re-Siting Elements / Moscow Sites

Seminar: Museum and Curatorship

Seminar / Workshop: Research to Design - Visual Methods and Precedents

‘Charette’: design provocation 2

Week 11:

Moscow Trip Itineraries, Key Case-studies and Site – Proposals

Complimentary Studies Submissions

TS3 Submission Proposal

Week 12:

Moscow Unit Trip (Dec. 10 – 18; Dates to be confirmed)

Urban Lab: Case-Studies and Sites / Key Elements

Joint Workshop and Presentation: Strelka – TBC

TERM 2

Week 1:

“Moscow Catalogue” and Design Provocation 3

Site / Design Intervention 1 Proposals

Brief 1: Proposed

Term Jury + AA Exhibition (tbc)

Week 2 - 4:

Progress Reviews / TS3 Submission Proposal Reviews

Intervention 1: DESIGN INFRASTRUCTURES

Incubator Infrastructures, Elements and Prototypes

Site Proposal + Re-Mapping

Diagrammatic Analysis + Visual Narratives (Systems, Conflicts, Opportunities)

Brief 1: Revised

Infrastructure and Elements: Programmatic Strategy + Formal Components

Seminar / Workshop: Design Infrastructures / Frameworks and Ecologies

Seminar: Elements

Applied Diagrams: Gallery Prototypes

Week 4:

Combined Tutorials

Week 5: Open Week

Workshop: Advanced Digital Modeling (tbc)

Week 6:

Mid-Term / Process Jury

Week 6 –11:

Intervention 2: FORM / PROGRAM

Gallery Affiliations, Decorated Diagrams and ‘Plastic Fit’

Brief 1: Deconstructed; Brief 2: Proposed

Design Infrastructures – Form and Program

Workshop: 1. Programming Form / “In-Formation and De-Formation”; 2. Formalizing Program

Seminar: Tight / Loose Fit; New Mode of Consistency; Mediations and Disjunctions – Student

Presentations

Form and Program Combined Prototypes; “Plastic Fit” and Modeling

Workshop: Modeling

‘Charette’: Form + Program Prototypes

TS / Unit – Systems Presentations

EXERCISE 4: Combined Arsenals and Plastic Prototypes (Parallel to Intervention 2)

Research | Design: Case Studies Analysis, Scenarios and Diagrammatic Templates

Plastic Fit Manifesto and Operations Manual: Form vs. Program

Week 8:

Workshop: “Switching Camps”: Functional Shapes + Decorated Diagrams

Revised Proposal in Context / Re-Mapping the Site

Week 9:

Later TS/Option 2: TS 3 Interim Juries

Workshop: Portfolio

Week 10:

2nd Year - Submissions Hand-in

Week 11:

Gallery Prototype / Portfolio Draft

Intermediate Previews for 3rd Year / Part 1

3rd Year Submission Hand-in

TERM 3

Week 1:

Later TS/Option 2: Final Document Hand-In

Term Jury

Week 2 – 4:

Intervention 3: MULTIPLIED EFFECTS

Beautiful Apparatus: Infrastructural Formalism and Dual Impact

Research | Design: Organizational Strategies and Atmospheric Effects

Program + Atmosphere; Form + Performance.

Two-Tier Project Documentation

Brief 3: Revised

Seminar / Workshop: Infrastructural Formalism and Beautiful Apparatus (or how to have both

seductive imagery and rigorous organization)

Process Jury

Week 5 – 7:

Seminar / Workshop: Expediency vs. Intricacy - “All Systems Go”

Workshop: Advanced Visualization Media (“Augmented Image”)

Revised Proposal / Efficiency and Effect

Workshop: Portfolio

Week 7

2nd Year End of Year Reviews

Week 8

Resolution / Re-presentation

Re-packaging: Catalogues and Portfolios

Research | Design: Final Reflection / Manifestos, Posters, and Matrixes

Week 9

AA Intermediate Examination (RIBA/ARB Part 1)

Exhibition:

“Incubator Galleries” + Catalogue (Exhibition and Catalogue Publication Production)

UNIT MASTERS AND CONSULTANTS:

Maria Fedorchenko studied at UCLA, Princeton University and Moscow Institute of Architecture. She

practiced in Russia, Greece, and the US (including Michael Graves & Associates) and directs a design

consultancy. Her research and design has been exhibited and published internationally. She taught studios and

seminars at UC Berkeley, UCLA and CCA since 2003 and has been involved in HTS and Housing &

Urbanism Programmes at the AA.

Tatiana von Preussen was educated at Cambridge University and Columbia University. She has practiced in

both London and New York where she worked for James Corner Field Operations on The High Line park. She

has taught design and advanced representation at Columbia University. Previously a partner of the research group

Gleamlab, she is currently a director of vPPR Architects.

Consultants (full list tbc): João Bravo da Costa; Monia de Marchi (AA); Richard Difford (University of

Westminster); Damien Hodgson (3D Reid); Francesca Hughes (AA); Melodie Leung (Zaha Hadid); Kathy

O’Donnell (Berlage Institute / Brighton University); Damian Rogan (Buro Happold).