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Psychotropic House

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The Thousand Dreams of Stellavista by J.G. Ballard

J.G. Ballard

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Context

The transformative impact of the covid-19 pandemic does not require much introduction but its progress prompts fundamental questions. When it comes to architecture and urbanism we can see once again how the relationship between private space and public space has changed. Previous spatial patterns connecting public with private space have been disrupted which for many reduced an earlier enthusiasm for city living. With our studio we look at new spatial realities as part of a long lasting relationship between architecture and disease. It is in many ways rather obvious for the practice of architecture to be historically linked with the practice of medicine. In ways of teaching; going as far back as Book 1 by Vitruvius written in the 1st century BC. To ways in which public health (or lack thereof) forced structural changes upon cities and their buildings. 'The Sewer Network of Central London' would have never been build if it wasn’t for successive cholera epidemics throughout the 19th century. The lattice of sewage systems required roads above to become wider and straighter as such, generating the current London street grid. Modern architecture moved away from the 19th century decorated interior with its wall coverings, carpets and draperies in its campaign for health. This new paradigm propagating sanitized well ventilated interiors would help fight wide spread tuberculosis in early 20th century Europe. In modern architecture form not only follows function but also the fear of infection. From the widened streets of London lined with trees to antibacterial brass doorknobs in clear white interiors, architecture has been in part shaped by disease. With this studio we observe an implicit connection between spatial design and healthcare. As we speculate on new spatial realities we cannot but think through a sense of continuity; from mid 19th century urbanism to early 20th century modernism. This is important for we do not want to merely focus on mitigation measures in reference to guidelines such as those published by World Health Organization (WHO). We do not glorify teleworking nor distance learning. We do not give up on concepts of urbanity and/ordensity. We don’t observe the widening of space between people as most critical but a broadening of socio-economic divisionas a consequence of this pandemic. We are concerned with a perpetual architectural evolution in which spatial paradigms are subject to radical change symmetrical tothe evolution and spreadingof disease.

Aim

The production of prototypical spatial installations presenting radical thinking on spaceshaped by disease.Such installation should operate as a manifesto concerned with forms of ideological and aesthetic representation. We are interested in reading spaceas a series of connected events, implicitly transitional as we explore new (im)material relationships between private space and public space

Work Flow

We will structure this studio in small collaborative groups of 3 (with one exception since we are 14 students). For your first week of work (after our introduction) each group starts with the compilation of an initial research on particular ideological  &aesthetic references in relation to the studio topic. During our second studio day of September 23 each we will present this research to each other.To help you in the use of various media Olivier Otten & Daphne Heemskerk from http://high-rise.nl/indexwill run a ‘Multiple Media’ studio in parallel to this Thematic Design Studio. They will support you in continuously thinking and re-thinking the act of re-presentation.They have organised an MM Workshop‘Reading the Surface’on Friday18 September during a site visit to Quarantine area Rotterdam (Heijplaat). With this workshop and following workshops we want to differentiate the act of mapping ‘Cartesian Space’ from mapping‘Experiential Space’. These kind of concepts will become more clear in the further development of the studio.During the second week we start with the observation and registration of a project site. This exercise is again supported by an MM Workshop during which you will explore the medium of film for the use of film will be used as a representational/design instrument structuring this first phase of this project. With your (filmic) site definition you are asked to read space as a series of connected events, implicitly transitional observing relationships between private space and public space.On September 30th, our third studio day, we will present first video drafts to each other.The following weeks each group continues the development of their filmic site investigation diversifying ideological & aesthetic explorations. To support the development of design speculations within your project site we will gradually work from film towards the production of drawings and the production of models.  These will be discussed during weekly group tutorials; providing a forum for debate on form & content. ‘Models’can be negotiated by means of various media; film, collage, drawing, model-making, performance, writing, etc.Each student is asked to keep a ‘Visual Logbook’capturing various conceptual & formal shifts as part of the design process. Olivier Otten & Dapne Heemskerk will support you in the creation of a visual logbook starting with Workshop #3 ‘Inter(Zine).The intermediate outcome of this work will be evaluated and discussed as part ofa midterm review on Friday October 30th.Following the midterm review, each group is asked to develop a thesis; merging various representational strategies (grouping various ideological&aesthetic explorations) and put forward a proposal for the production of a prototypical spatial installation presenting radical thinking on space shaped by disease.  At this point concepts and explorations are to be materialised in high resolution design proposals. Students are recommended to use the available workstations. In the digital production studio, you will be able to work with 3D printing, laser cutters and a CNC milling machine. In the woodwork studio’s you will be able to work with professional woodworking equipment such as cutting tables, a milling machine and planning machines. In the metal workshop you will be able to work with equipment for welding, sawing, cutting, turning, forging and bending steel. In the ceramics & plastics studio you will be able to work with clay, plaster and various moulding resins,as well as hard plastics. Ceramic products can be baked in ovens. The outcome of this final phases will be evaluated and discussed during a final review on Tuesday December 8th.

Content and Syllabus

This studio allows student-centred design explorations as part of a collaborative studio. Interior architecture is about nurturing a collaborative intelligence; outside the singularity of one person, one studio, one school, one city. Students develop a design project to a high degree of spatial, material and intellectual resolution. Students develop and manage their own research agenda exploring the wide domain of Interior Architecture and Design. They do this in critical proximity to work produced by other students/practitioners.Teaching and Learning Methods The course consists of 11studio sessions+ 1 final evaluation session in which students discuss their work with a tutor. Students work in small collaborative groups. Students will present intermediate work as part of a formative assessment at midterm. Students will present final work as part of a summative assessment at the end of the project.Assessment criteria Please refer to MIARD Handbook for a complete overview of the final competencies (exit qualifications) that are established in accordance with national and international guidelines. These are the skills that enable students to enter the professional field and work on their own or in interdisciplinary collaborative teams.

Creative ability: They understand complex issues affecting their field of practice and look beyond disciplinary norms with a critical, imaginative and flexible approach to their work. They seek to impact the field of interior architecture and spatial practice. Capacity to conduct self-directed research:They can identify relevant subject matter, questions, and methods to formulate a position and distinct areas of research, design and writing.

Critical reflection and awareness of context: They can critically reflect and analyze issues relevant to their field of practice across a broader social-cultural, historical and theoretical context.They are able to make informed decisions about the circulation of their work among these contexts.

Communicative skills: They can clearly communicate their intent, context, process and research through different formats and media to professional and general audiences.

Capacity for media and technology: They approachmedia analytically and employ novel technologies. They use tools inventively to affect their practice, the profession and society.Making and material ability:They areable to creatively execute fabrication processes, techniques and material research across a specificity of scales and contexts.Organizational skills:They demonstrate a comprehensive ability to self-organize, plan, manage and execute complex and creative projects effectively on their own and in collaboration with others at a professional level.

Assessment Requirement Design submission 100% Students are expected to apply themselves diligently to their studies and, in particular, to comply with attendance requirements of the unit and to submit all work as prescribed.

References Drawing Futures Book free PDF download.  Edited by Laura Allen andLuke Caspar Pearson, Executive Editors: Bob Sheil and Frédéric Migayrou, November 2016http://www.ucl.ac.uk/ucl-press/browse-books/drawing-futuresX-Ray Architectureby Beatriz Colomina, Lars Müller PublishersFurtherDeleuze, G. 2003, On Franis Bacon: the logic of sensation, Trans. W. Smith, D. ContinuumDeleuzeG, 1991Empiricism and Subjectivity: An Essay on Hume's Theory of HumanNature translated by C Boundas (Columbia University Press, New York); first published1953Glanville, R (2003) An Irregular Dodekahedron and a Lemon Yellow Citroën , in van Schaik, L ed. (2003b) The Practice of Practice,  Melbourne, RMIT PressJean Labatut, History of Architecture through people, JAE Journal of Architectual education 33, no 2 (November 1979)Maurice Merleau-Ponty, 1993, ‘Eye and Mind’, in The Merleau-PontyAesthetics Reader:Philosophy and Painting (Evanston, IL: Northwestern University PressMaurice Merleau-Ponty, 1968, ‘The Visible and the Invisible’, Northwestern Univer