Beauty and Entropy - Diploma 1 2020-21 Extended Brief Architectural Association
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Beauty and Entropy Diploma 1 2020-21 Extended Brief Architectural Association
Beauty and Entropy
‘This is the old hotel, and you can see that instead of just tearing it all down in one
stage they tear it down partially so that you are not deprived of the complete
wreckage situation. That’s very satisfying to me: it’s not often that you see buildings
being both ripped down and built up at the same time.’
Robert Smithson
Picture this: it is 1969 and artists Robert Smithson and Nancy Holt are on a visit to
Chiapas, Mexico. They are planning a site-specific art piece and staying at the Hotel
Palenque. Smithson records the hotel - part building site and part ruin - in a series of
31 photographs.
Cut to 1972: the scene is Smithson addressing a packed lecture theatre at the
University of Utah, School of Architecture in Salt Lake City. Instead of hearing about
the architectural merits of archaeo- logical sites and land art, the bemused students
are treated to the 31 slides of the Hotel Palenque and Smithson’s deadpan
commentary. Smithson’s exposition focuses on the incomplete and the banal and the
fascinating beauty he sees in these phenomena.
The lecture, with its rambling repetition, was an art piece in itself. Smithson revealed
his delight in the entropic decay of the hotel, but did so in a way that manifested the
self-same characteristics. The slide show and commentary were one of a series of
art pieces by Smithson and Holt that focused on the natural processes of time,
material and entropy. The provocations within the lecture pointed to these processes
and their relation to social and cultural values.
Flash-forward to 2020: with Smithson as our muse for the year, we will be con-
tinuing our research into transformation and our critique of the ‘new’ and ideal.
Students are at liberty to select project theses with associated sites and are
encouraged to work with video and other time-based media. A particular field of
interest will be the elusive concept of beauty and its relation to the imperfect and
contingent.
Miraj Ahmed is an artist and architect who has taught at the AA since 2000. He is also an
Associate Lecturer at Camberwell College of Art and was a Design Fellow at Cambridge
University (2006-14).
Martin Jameson is a partner at Serie Architects. He has an AA Diploma (Hons), a BA in
Philosophy and Politics from Oxford University, and an MBA from IMD, Switzerland.
Palenque, Mexico, Google Street View (image capture 2012).
Dip 1 Extended Brief 2020-21
Some Thoughts on Beauty
‘Design with Beauty, Build in Truth’, the AA founding motto, still has an appeal but
might also sound rather archaic. Why is that? Is it because the word ‘beauty’ has
lost favour in our relativistic contemporary culture which is uncomfortable with
notions of universality. Perhaps the didactic or moral tone is problematic? We are
sceptical when beauty becomes a political tool to be dictated. It has often been
commandeered by the powerful to represent their brands of ‘ideal’.
Further complications arise in terms of cultural ideas of beauty. For example, to
some cultures beauty is functional and should serve a purpose within a community
- and it cannot exist for its own sake. But ideas of beauty are not fixed according to
continents - ideas move around like the winds. Human origin myths with visions of
paradise, deities and magic are replete with characteristics of beauty, desire and
the turmoil that follows. These ancient ideas are shared legacies.
Beauty is not just an idea. We know it when we experience it - it is something we
feel with our senses. We can be moved by the beauty of music even when we are
unfamiliar with the culture from which it emanates. Decoration from a long lost era
can seem as vibrant and beautiful today as the day it was created. The aesthetic
and sensual qualities of flora and fauna can be experienced by all. So beauty
seems to transcend time, culture and place. In this regard we might perhaps find
some objectivity and universality within the notion of beauty after all. For example;
rhythm, harmony, proportion, scale, arrangement, symmetry, mathematics,
material, sensuality etc, are ingredients that contribute to the practice of aesthetics
and pursuit of beauty.
The notion of an objective approach to beauty can be seen in the various rules of "Nancy Holt, Sun Tunnels, 1973-1976" by Retis is licensed under CC BY 2.0. Geometry and form frames land and sky.
art and architecture in differing cultures. Artisanship, craft and building require
technique and judgement. We may not aim for beauty as an outcome, but our
decisions in the arrangement of space, material and meaning can lead to beauty as “Beauty is no quality in things themselves: It exists merely in the mind which contemplates them; and each mind perceives a different beauty.” David
a by-product. Hume - Of the Standard of Taste
A non-dogmatic approach allows us to see beauty in disorder and this is where we “Taste is the faculty of estimating an object or a mode of representation by means of a delight or aversion apart from any interest. The object of such
begin to appreciate entropy. Asymmetry, discord and strangeness can also be delight is called beautiful.” Immanuel Kant - Critique of Judgement
beautiful. Historically, the notion that beauty can exist in chaos and disorder is well
understood in the arts. For example, the Japanese concept of Wabi Sabi accepts “The beautiful is always strange. I do not mean that it is coldly, deliberately strange. For in that case, it would be a monstrosity that had jumped the
transience and imperfection as attributes of beauty. Nature Morte (still life) painting rails of life. I mean that it always contains a touch of strangeness, and that it is this touch of strangeness, of simple, unpremeditated and unconscious
can instil pathos and a range of aesthetic emotions in its depiction of decay in the strangeness that gives it its particular quality as beauty. It is its endorsement so to speak - its mathematical characteristic. Reverse the proposition,
everyday. The content of a work of art may even be ugly (as in the paintings of and try to imagine a commonplace beauty” Charles Baudelaire - 1855 Exposition Universelle Review
Goya) but its description may be poetic, illuminating and beautiful. Terrifying scales
of land, sea and sky inspire awe and a recognition of the ‘sublime’. Beauty can be “Beauty is not superfluous, not a luxury, but it is a necessity that waits upon the satisfaction of other necessities. It is the crowning satisfaction.” Peter
found everywhere - even in the most ordinary, the contingent and the incomplete. Schejndahl - Notes on Beauty
As architects and designers, it is important that we recognise and understand
generative aesthetic mechanisms from our observations of the world at large. “By its very nature the beautiful is isolated from everything else. From beauty no road leads to reality.” Hannah Arendt - Rahel Varnhagen
“I believe that beauty is a basic service.” Theaster Gates
Dip 1 Extended Brief 2020-21
Some Thoughts on Entropy
“Suppose we were asked to arrange the following in two categories - distance,
mass, electric force, entropy, beauty and melody. I think there are the strongest
grounds for placing entropy alongside beauty and melody, and not with the first
three. Entropy is only found when the parts are viewed in association, and it is by
hearing or viewing the parts in association that beauty and melody are discerned.
All three are features of arrangement.”
Arthur Eddington - The Nature of the Physical World, 1927
In physics, the second law of thermodynamics states that entropy always increases
with time within a closed system and it can be described as a measure of changing
states from order to disorder - increasing to the maximum possible value when the
system is in equilibrium. Eddington, even as a physicist, was moved to speculate
on entropy as analogous to the subjective category of beauty and melody.
Entropy can also be understood as a progressive and inevitable dissipation of
energy - the universe is subject to it. We naturally have an aversion to entropy and
we strive to work against the flow - and to reverse it (‘negentropy’). We build to
shelter against the ravages of weather and we create order to improve living
conditions. But we do this through the system of ‘growth’ by increasingly exploiting
the Earth’s resources - at the cost of degrading the environment and accelerating
entropy.
The phenomena of entropy can apply to social, political and economic systems.
We are currently experiencing crises in political structures as well as public health
(due to the pandemic). But there have always been these kinds of paradigm shifts -
the result of plagues, catastrophes and conflicts. Systems are in a constant state of
flux - moving from order to disorder and back again - so there is a kind of pulsation Robert Smithson - Spiral Jetty, 1970. Made from basalt found on site - photo POET ARCHITECTURE is marked with CC PDM 1.0
between entropy and negentropy.
The virtual world of information is also subject to entropy - in which an over “No structure, even an artificial one, enjoys the process of entropy. It is the ultimate fate of everything, and everything resists it.” Philip K Dick -
saturation of information ‘noise’ is akin to increased entropy. Hito Steyerl in her Galactic Pot-Healer
essay, ‘In Defence of the Poor Image’ demonstrates this with the example of the
endless production and copying of images. The proliferation of images ultimately “As the cloying effect of such “values’ wears off, one perceives the “facts” of the outer edge, the flat surface, the banal, the empty, the cool, blank after
leads to a sea of weak content and meaning. blank; in other words, that infinitesimal condition known as entropy.” Robert Smithson - Entropy and the New Monuments
How can we better understand entropy, in order to intervene in the world without “The living organism, in a situation determined by the play of energy on the surface of the globe, ordinarily receives more energy than is necessary for
accelerating it. Artists such as Robert Smithson and Nancy Holt, interpreted maintaining life; the excess energy (wealth) can be used for the growth of a system (eg an organism); if the system can no longer grow, or if the
entropy as something to be worked with rather than against. In architectural terms excess can no longer be absorbed in its growth, it must necessarily be lost without profit, it must be spent, willingly or not, gloriously or
one can ask; how do we create systems, - social, political and material - that are in catastrophically.” George Bataille - The Accursed Share
dialogue with the known and predictable forces of deterioration? Further to that,
what techniques can we deploy that recognises the use values in the processes of “It is a ghost of an image, a preview, a thumbnail, an errant idea, an itinerant image distributed for free, squeezed through slow digital connections,
entropy? compressed, reproduced, ripped, remixed, as well as copied and pasted into other channels of distribution.” Hito Steyerl - In Defence of the Poor
Image
Dip 1 Extended Brief 2020-21
Year Overview
Term 1 consists of three phases and focuses on developing a thesis that addresses
change, adaptation and transformation - through investigations into processes and
physical procedures that address contemporary socio-political, cultural, physical and
environmental phenomena in relation to urban or rural issues.
Within the first three weeks students will experiment with the methodologies of
Robert Smithson and Nancy Holt, through physical assemblage and intervention that
address phenomena associated with beauty and entropy. Reuse of materials as well
as ideas and their transformation will become a practice. Following that, students will
identify a subject: issues initiated in the first phase, that display some form of crisis,
urgency and necessity for change. This will be explored in the through mis-en-scene
- a filmed environment / scene created in 3d (as physical model, CGI or both).
Architectural precedent studies will be documented to enable spatial transformation
leading to the mis-en-scene.
Explored subjects / themes will form the basis for the selection of appropriate sites
and further research. Precedent studies that examine architectures that are the
product of adaptation and transformation will inform the design of architectural
strategies. By the end of the term students will develop their design thesis in the
form of strategy. A book will be created to document the term’s work.
Term 2 will lead to detailed architectural proposals through two phases. The strategy
developed in the first term will be developed further into a thesis through technical
design. For fifth years this phase of work will inform the ETS project. Fourth years
will however be exposed to similar methods of enquiry. The work will involve
detailed drawings, models and video tests. The second phase of the term will focus
on Design Development - continued experimentation through drawing and video that
will lead to the end of term previews. This second phase will focus more on design
issues. The book started in term 1 will be added to with the documentation made in
term 2.
Term 3 will consist of two phases focusing on final project consolidation and final
documentation / representation. As well as the final portfolio sheets / plates, models,
and videos, each student will also finalise the folio book that will be also be a Scene from ‘A Matter of Life and Death’ Powell and Pressburger, 1946
designed document and artefact in itself.
Dip 1 Extended Brief 2020-21
Year Overview
Seminars and coursework
Film / Video
Film and video is an essential medium within the unit. Workshops will introduce
video shooting and editing techniques. Students are encouraged to watch and
analyse films from a wide range of genres and techniques to inform their own work.
History & Theory
Students joining Dip 1 should have an interest in art and cultural theory and have a
desire to translate this into design. Students are encouraged to combine HTS with
their project research and conceptual grounding. We encourage the writing of HTS
theses in line with unit topics.
Technical Studies
Structure, environment and material construction are essential and integral to the
design process. Technical research should be documented and collated as an
ongoing process in order to support concepts and build a viable technical study that
underpins the main design project. We will follow ETS Option 1 that entails
submission in the second term. Students should be aware that ETS should not be
seen as a separate study but rather is very much a part of the design process.
Workshops and Seminars
Term 1 and 2 will include a series of seminars / talks / workshops that will cover
certain issues of adaptation, ideas of artists, writers and film makers in order to find
intellectual and technical methodologies that can become both generative and
representational.
Study Visits
In the first term, students will be encouraged to visit local sites of interest near to
their home and each person will introduce these to the unit. When the unit is
together in London we will visit local sites and also Hooke Park if permitted.
Design Portfolio
Students are expected to collate all design material of the year into an A2 portfolio
document - printed plates - and the completed videos. As well as this A3 volumes will
also be developed and bound at the end of the year. This should be an on-going
process of collation in order to exhibit the volumes at the end of the year. Folio
checks will occur at the end of each term. Students will be expected to master in-
design and elegant layout techniques for the folio and the final book.
Scene from L’Age d’Or, Luis Bunuel, 1930
Dip 1 Extended Brief 2020-21Term 1
Phase 1 - Working with Entropy
Weeks 2 – 4
5 October – 23 October 2020
In the first phase students will examine Robert Smithson’s work and concepts of
entropy, natural processes through materials and phenomena. Furthermore, the
environmental concerns of Nancy Holt will also trigger experiments with light,
sound, matter, found objects etc. Reuse in Dada art, repair and repurposing will
become the lenses through which observations of phenomena, conditions and
issues will be processed. Time and its affects will be an important aspect to be
documented in video. This research into physical phenomena will form the
beginnings of a search for a hypothesis and brief. We will also immerse ourselves in
literature, fine art and magical realist cinema in order to study filmic space and its
relation to architecture and the city.
The goal of this phase is to make something material from your observations of the
phenomena of entropy in everyday life, the environment and society. You will work
with materials, objects, decay, deterioration, dissipation, energy, light, sound,
haptics and virtuality (eg text, digital world etc). The intervention / assemblage
should be understood in terms of its wider contextual relationships to space, place
and society. What are the questions you are posing and the narratives you are
constructing through the work?
Deliverables Observation studies - through photography and text
Time based study of entropic phenomena
Installation / Assemblage / spatial intervention (documented)
Booklet of Phase 1
Tutorials: Tuesdays and Fridays
(Monday 5 October 2020 Unit meeting)
Seminars: 16 October 2020 pm - Lisa Le Feuvre (Executive Director of
Holt/Smithson Foundation) - on Robert Smithson
23 October 20120 AM - Carey Young (artist)
Workshops: Tuesday 6 October - Principles of drawing - Miraj Ahmed
Video camera / editing techniques - James Mak (Date TBC)
Virtual Pin-up: 23 October 2020 PM
Simonpietro Salini. Assemblage. Dip 1, 2020
Dip 1 Extended Brief 2020-21Term 1 continued
Phase 2 - The Mis-en-Scene:
Time, Space, Architecture and Film
Weeks 5 – 8
26 October – 20 November 2020
The relationship between film and architecture is well documented. Film depicts
space in time. It has the ability to subvert time, viewpoint, composition and light in
ways that ordinary drawing may not. As such it is an important tool to reveal
concepts and states that exist in real space. Time, movement, rhythm, gravity, light
darkness can all be explored in relation to the body, the room the building and the
city. The film scene has a power to condense an idea about a space, a feeling, a
concept within a few seconds. The history of cinema is replete with movies that
contain scenes that compress complex ideas within seconds — capture cultural and
political commentaries, critical fictions that convey worlds caught between reality and
imagination.
Phase 2 will take elements of the previous phase and explore them further through
visual analysis, space and place. The concepts can be translated into imagined
spaces (model film set) explored in time based media. The model film set can be
physical or digital and will become the medium to represent the adaptational and
transformational underpinnings of the themes being explored. To help construct the
‘film set’ appropriate architectural precedent analysis (drawings) will become the
source and reference for the design of models, lighting, pacing, effects and content.
The model set will provide the basis to explore ideas visually atmospherically as a
way to research the developing thesis.
Deliverables - Precedent studio of architectural precedents - Drawings
Translational drawings of design for set
Model of film set - physical or digital
Short 1 minute video
Booklet of Phase 2
Tutorials Wednesdays and Fridays Siong Yu-hsiang Wang. Filming model interior. Dip 1, 2018
Seminars 27 October 2010 - Filmic structure Miraj Ahmed
30 October, 6 November 2020 - Tim Brittain-Caitlin - Architectural
Reuse.
Workshops Filmic techniques (camera and editing) - James Mak and Ryan
Cook. (Dates TBC)
Model making - Miraj Ahmed (Date TBC)
Open Week 31 October - 03 November 2020
Jury 20 November 2020
Dip 1 Extended Brief 2020-21Term 1 continued
Phase 3 - Strategy
Weeks 9 -12
23 November – 18 December 2020
The final phase of the term is for determining a strategy. This is not the same as
making a design but shares some elements of a design. At the conclusion of this
phase students should know what they are interested in and should know what they
find problematic or contentious. And most importantly they should have developed a
hypothesis as to what they think is an approach to addressing the issue. This can be
called a thesis or a position. It is mindfully different to gathering data and processing
information. It forms the basis of all technical and design work in term 2. Without the
strategy the design work can not progress.
Explore further project themes and concepts from previous phases through analysis
drawings and images. Focus on on technicalities of entropic phenomena. This work
should be tested against appropriate and possible sites - again explored through
drawings and images. The strategy is a combination of site and concepts.
The strategy is substantiated with a set of drawings and books of background
research. The video of phase 2 can be edited to manifest aspects of the strategy.
Deliverables - Concept and technical appraisal - drawings, images and text
Site analysis - Images and analytical drawings
Updated videos
Booklet of Phase 3
Tutorials Tuesdays and Fridays
Seminars Artist Talk - Nicolas Feldmeyer - Date TBC
Virtual Pin up 04 December 2020 Marie Louise Raue - Golgonooza / Thamesmead. Dip 1, 2015
Final Jury 18 December 2020
Dip 1 Extended Brief 2020-21Andrea Wong, Green Belt forest and field analytical painting. Dip 1 2016
Dip 1 Extended Brief 2020-21Term 2
Phase 1 — Technical Design
Weeks 1 - 5
11 January – 12 February 2021
The second term begins with the intense research into the performative qualities that
are embedded in the design strategy: the Technical Design. Fourth year will use
engage in this to strengthen their propositions and for Fifth year this work feeds
directly into the TS. We will work with consultants to explore and materialise
phenomena both invisible and visible through investigation, drawing and
performative models.
The work here is methodical and physical. Students will explore concepts that will be
both atmospheric and poetic: transformation as physical and atmospheric process,
materials and their re-use, understanding of existing buildings and sites, structural
and environmental systems.
We will spend time at Hooke Park in order to intensely develop ideas and to
construct and test physical models.
Deliverables - Material / performance explorations - models, drawings, images
Organisational / programmatic strategies - models, drawings
Site analysis - Images and analytical drawings
Booklet of Phase 1
Tutorials Tuesdays and Fridays
Workshop Video Techniques continued - Ryan Cook (Date TBC)
Drawing Techniques continued - James Mak (Date TBC)
Interim Jury 5 February 2021
Open Week 08 -12 February 2021
Open Jury 12 February 2021
‘Is it not the artist who has the capacity to re-imagine that things could be Xin He, Bruno Taut Pavilion out of a log. Dip 1, 2016
used as something other than the thing they were born to do and that
maybe buildings could do things they weren’t intended to do or that zoning
policies said that they couldn’t do, or cities could be re-imagined,
transformed by an artist , by an architect, designer or builder……’
Theaster Gates
Dip 1 Extended Brief 2020-21Term 2 continued
Phase 2 - Spatial Design
Weeks 6 to 11
15 February – 26 March 2020
Design Development
The second phase of the term is the heart of the design phase of work. Here we
develop greater precision through addressing program, circulation and spatial
disposition. The design must both reflect the potentialities of the site and the
strategies developed in the first term. The physical experimentation initiated in
phase one of the term will be continued and appraised. All work will be documented
through drawings, text, photography, video and models. The design process will
explore the way that architectural drawing is informed by the cross referencing
between 2d, 3d and time based media technics though
5th year TS work - material testing, performance modelling, drawings and
documentation - should be finalised and submitted at the end of this phase. The
portfolio book should be added to with a view to completion in term 3. Students
should plan for he 4th and 5th Year previews which demonstrates the thesis project
and and its representation as a portfolio.
Deliverables - Material / performance explorations - models, drawings, images
Technical study drawings
Spatial / scheme design - models, drawings
video - update
Booklet of Phase 1
ETS 5 Book
Work in progress portfolio
Emily Priest. Negotiating the partition wall. Dip 1, 2017
Tutorials Tuesdays and Fridays
Workshops Drawing as informed by video - Miraj Ahmed (Date TBC)
Interim Jury 9 January 2021
ETS Interim 16 February 2021
Final Jury 26 February 2021
ETS 5 Final 12 March 2021 - Final Submission (Early Option)
4th yr previews 17-18 March 2021
5th yr previews 24-25 March 2021
End of Term 26 March 2021
Dip 1 Extended Brief 2020-21Cliff Tan. Extending a brutalist tower block - model. Dip 1, 2015
Dip 1 Extended Brief 2020-21Term 3
Phase 1 - Consolidation
Weeks 1 to 2
26 April – 7 May 2021
Compilation of the portfolio and completion of drawing set. All outstanding drawings
need to be completed by the end of the Easter break. New final drawings Folios are
to be formatted and printed at A2 or larger. Each student will also design the portfolio
booklets. We will go to Hooke park on return from Easter break in order to complete
final models – which are fragments of the design project to be filmed for the final
edits.
Tutorials Tuesdays and Fridays
Interim Jury 30 April 2021
ETS5 Jury &
High Pass
Exhibition 6-7 May 2021
Phase 2 - Final Representation
Weeks 3 to 9
10 May —25 June 2021
The work to date will be appraised and documentation finally collated. The material
will be the basis of final speculations. The idea of this work is both to better represent
the ideas of the design itself and to speculate at a bigger scale. In other words, this
phase asks the question: what is the agency of the project’s ideas of transformation
and adaptation at the scale of the city?
Deliverables Final Portfolio Plates / Final Video / Final Book
Final Jury 21 May 2021 Siong Yu-hsiang Wang. Film stills from ‘The Cultural Odyssey’. Dip1, 2019
4th Yr Final
Reviews 9-10 June 2021
5th Yr Dip
Committee 16-17 June 2021
Hons. 18 June 2021
RIBA Part 2
External Exam 23 June 2021
Graduation 25 June 2021
Dip 1 Extended Brief 2020-21Alex Wai Yin Yuen. At Home in The Liminal World. Reuse of Heathrow Terminal 1 as archive. Dip1, 2020
Dip 1 Extended Brief 2020-21Christopher Kokarev. Vertical Asclepeions: Reinstating an Architecture of Public Care. Dip 1, 2020
Dip 1 Extended Brief 2020-21References
BOOKS: FILMS:
Robert Smithson: The Collectred Writings - Edited by Jack Flam Hotel Palenque (Bootleg) 1972 - Alex Hubbard
Entropy and Art - Rudolf Arnheim Films of Nancy Holt and Robert Smithson
Formless: A Users Guide- Rosalind Krauss, Yves Alain Bois The Garden - Derek Jarman
A Users Guide to Entropy - Yves Alain Bois, Rosalind Krauss London - Patrick Keiller
Entropy - Thomas Pynchon Robinson In Space - Patrick Keiller
City Planning According to Artistic Principles- Camillo Sitte Short films of Steve McQueen
Heterotopia and The City: Public Space in Posts Civil Society -Michiel Dehaene, Phantom of Liberty - Luis Bunuel
Lieven De Caute L’Age d’Or - Luis Bunuel
Architecture and The City - Aldo Rossi 2001 A Space Odyssey - Stanley Kubrick
The Idea of a Town - Joseph Rykwert The Shining - Stanley Kubrick
Complexity and Contradiction in Architecture - Robert Venturi Eraserhead - David Lynch
Collage City - Colin Rowe, Fred Koeter Mulholland Drive - David Lynch
Pataphysics; A useless Guide - Andrew Hugill Inland Empire - David Lynch
Exploits & Opinions of Dr Faustroll, Pataphysician - Alfred Jarry Le Mepris - Jean Luc Godard
Alfred Jarry; A Pataphysical Life - Alistair Brotchie Cleo From 5 to 7 - Agnes Varda
Pataphysics: The Poetics of an Imaginary Science - Christian Bok Daguerréotypes - Agnes Varda
Urban Cinematics; Understanding Urban Phenomena Through The Moving Image - Les Glaneurs et la glaneuse - Agnes Varda
Francois Penz, Andong Lu 8 1/2 - Federico Fellini
Architecture of Image; Existential Space in Cinema - Juhani Palasmaa La Dolce Vita - Federico Fellini
The Architecture of David Lynch - Richard Martin The Belly of an Architect - Peter Greenaway
The Film Sence - Sergei Eisenstein The Cook, The Thief, The Wife and Her Lover - Peter Greenaway
Cinematography: Theory and Practice - Blain Brown Drowning by Numbers - Peter Greenaway
Film Scapes; Cinematic Spaces In Architecture and The City - The Chess Players - Satyajit Ray
Richard Koeck 2 Days in Paris - Julie Delpy
Poetics of Space - Gaston Bachelard The Red Desert - Michelangelo Antonioni
Void in Art - Mark Levy Nostalghia - Andrei Tarkosvsky
Voids: A Retrospective - Mathieu Copeland Stalker - Andrei Tarkovsky
The Architectural Uncanny - Anthony Vidler Do The Right Thing - Spike Lee
Architecture and Disjunnction - Bernard Tchumi Werkmeister Harmonies - Bela Tarr
Surrealism in Architecture - Thomas Mical Rodio On - Christoper Petit
Expressionist Architecture - Wolfgang Pehnt The Life Aquatic - Wes Anderson
Collapse of Time - John Hejduk Grand Budapest Hotel - Wes Anderson
The Medium Is The Massage - Marshall McLuhan Adaptation - Charlie Kaufman
The Illusion of the End - Jean Baudrillard Last Year at Marienbad - Alain Resnais
(nostalgia) - Holllis Frampton
The Seasons in Quincy: Four Portraits of John Berger - Tilda Swinton with
Bartek Dziadosz, Colin MacCabe, Christopher Roth
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