DFIIKELSEY REYNOLDS

06: COMMUNITY• Georg Simmel, “The Metropolis and Mental Life” [1903], On Individuality and Social Forms (Chicago:University of Chicago Press, 1971): 324-39.• David Harvey, “The New Urbanism and the Communi-tarian Trap: On Social Problems and theFalse Hope of Design,” in William S. Saunders, ed, Sprawl and Suburbia (Minneapolis: Universityof Minnesota Press, 2005): 21-26.06 Feb Roddier: AGGReGATIONS & IDeOLOGIeS08 Feb Roddier: PeRSPeCTIveS ON CITIeS

07: PRODUCTION• Terry Smith, “Fordism: Mass Production and Total Con-trol,” Making the Modern: Industry, Art andDesign in America, (Chicago: The University of Chicago Press, 1993): 15-55.13 Feb McCulloch: HeNRy FORD & ALbeRT KAHN: THe ARCHITeCTURe OF PRODUCTION15 Feb young: DeNSITy OF eMPTINeSS

08: URbANISM• Giorgio Agamber, Homo Sacer (Palo Alto: Standord University Press, 1995): Introduction (9-14) &The Camp as the Nomos of the Modern, Threshold (95-105)20 Feb young: URbANISM IS NOT THe CITy22 Feb baldwin: STATeS OF exCePTIONS

09: COUNTeR-CULTUReS• Michel de Certeau, “Walking in the City,” The Practice of everyday Life (berkeley: University ofCalifornia Press, 1984): 91-110.• Christel Hollevoet, “Wandering in the City—Flânerie to Dérive and After: The Cognitive Mapping ofUrban Space,” in Christel Hollevoet, ed. The Power of the City: The City of Power, (New york: TheWhitney Museum of American Art, 1992): 25-55. 05 Mar Roddier: THe SPeCTACLe OF ARCHITeCTURe07 Mar Miller: COUNTeRCULTURAL PRACTICeS

TAbLe OF CONTeNTS10: LANDSCAPe• Robert Smithson, “A Tour of the Monuments of Passaic, New Jersey” (1967), in Nancy Holt, ed.The Writings of Robert Smithson (New york: New york University Press, 1979): 52-57.• Keller easterling, “Interchange and Container: the New Orgman,” Perspecta 30 (1999): 112-12112 Mar young: SeeMS FULL OF HOLeS14 Mar Miller: LANDSCAPe OF THe UNSeeN

11: eNvIRONMeNTS• Reyner banham, “A Home is not a House,” Architectural Design 39 (January 1969): 45-48• Anthony vidler, “Towards a Theory of the Architectural Program,” October 106 (Fall 03): 59-74.• bruno Latour, “air,” Sensorium: embodied experience, Technology, and Contemporary Art, ed byCaroline Jones (Cambridge: MIT Press, 2006), 105-10719 Mar Miller: CLIMATES OF CONTROL21 Mar Miller: exPLICIT AIR

12: exPeRIeNCe• Robert Levit, “Contemporary Ornament: The Return of the Symbolic Repressed,” Harvard DesignMagazine 28 (Spring/Summer 2008).• Hal Foster, “Design and Crime,” Design and Crime (and other Diatribes) (London: verso, 2002):13-2626 Mar Roddier: PHeNOMeNOLOGy & ITS AFTeRGLOW28 Mar Roddier: TRANCe-FORMATIONS

13: ATMOSPHeReS• Ignasi de Solà -Morales, “terrain vague” in AnyPlace, ed. by Cynthia Davidson, MIT Press, 1995:118-123• Martha Rosler, “Culture Class: Art, Creativity, Urbanism, Part III: In the Service of experience(s),”e-flux journal #25 (May 2011).02 Apr young: TOXICITY04 Apr Roddier: ReCeSSIONAL AeSTHeTICS

01: INTRO04 Jan Roddier: THe PRODUCTION & DISSeMINATION OF IDEAS• Michael Petracca & Madeleine Sorapure, Common Cul-ture: Reading and Writing about AmericanPopular Culture (Prentice Hall, 2006): 6-38.

02: MeANING• Mark C. Taylor, The Picture in Question (Chicago: The University of Chicago Press, 1999): 1-62.09 Jan Roddier: MIND GAMeS11 Jan Roddier: A TITLE IS NOT A LECTURE

03: RePReSeNTATION• Aldo Rossi, “Introduction: Urban Artifacts and a Theory of the City” and “Typological Questions,”The Architecture of the City, excerpt (Cambridge: MIT Press, 1984): 20-27, 35-44.• Peter eisenman, “Post-Functionalism,” Oppositions 6 (Fall 1976)16 Jan MARTIN LUTHeR KING, JR. DAy18 Jan Miller: ARCHITeCTURe OF ANALOGy: ALDO ROSSI & THe STRUCTURALIST IMAGINARy

04: PRACTICe• Mark Wigley, “Resisting the City,” in Joke brouker, and Arjen Mulder, eds, TransUrbanism (Rotterdam:v2_/NAI, 2002): 103-120.• Andrew Abbott. “The Context of Disciplines.” The Chaos of Disciplines. (Chicago: University ofChicago Press, 2000): 121-13123 Jan young: THe FIGURe OF THe ARCHITeCT25 Jan Wilkins: THe PUbLIC ORIGINS OF PRIvATe PRACTICe

05: PUbLICS• Margaret Crawford, “Can Architects be Socially Respon-sible?” Out of Site: A Social Criticism ofArchitecture. (Seattle: bay Press, 1991): 27-45• Thomas Fisher, “Public-interest architecture: a needed and inevitable change”. bryan bell, ed.expanding Architecture: Design As Activism (New york: Metropolis books/D.A.P., 2008): 8-1330 Jan Wilkins: PRIvATe PRACTICe: A PUbLIC DUTy?01 Feb Wilkins: PUbLIC PRACTICe: A PRIvATe INTeR-eST?

06: COMMUNITY• Georg Simmel, “The Metropolis and Mental Life” [1903], On Individuality and Social Forms (Chicago:University of Chicago Press, 1971): 324-39.• David Harvey, “The New Urbanism and the Communi-tarian Trap: On Social Problems and theFalse Hope of Design,” in William S. Saunders, ed, Sprawl and Suburbia (Minneapolis: Universityof Minnesota Press, 2005): 21-26.06 Feb Roddier: AGGReGATIONS & IDeOLOGIeS08 Feb Roddier: PeRSPeCTIveS ON CITIeS

07: PRODUCTION• Terry Smith, “Fordism: Mass Production and Total Con-trol,” Making the Modern: Industry, Art andDesign in America, (Chicago: The University of Chicago Press, 1993): 15-55.13 Feb McCulloch: HeNRy FORD & ALbeRT KAHN: THe ARCHITeCTURe OF PRODUCTION15 Feb young: DeNSITy OF eMPTINeSS

08: URbANISM• Giorgio Agamber, Homo Sacer (Palo Alto: Standord University Press, 1995): Introduction (9-14) &The Camp as the Nomos of the Modern, Threshold (95-105)20 Feb young: URbANISM IS NOT THe CITy22 Feb baldwin: STATeS OF exCePTIONS

09: COUNTeR-CULTUReS• Michel de Certeau, “Walking in the City,” The Practice of everyday Life (berkeley: University ofCalifornia Press, 1984): 91-110.• Christel Hollevoet, “Wandering in the City—Flânerie to Dérive and After: The Cognitive Mapping ofUrban Space,” in Christel Hollevoet, ed. The Power of the City: The City of Power, (New york: TheWhitney Museum of American Art, 1992): 25-55. 05 Mar Roddier: THe SPeCTACLe OF ARCHITeCTURe07 Mar Miller: COUNTeRCULTURAL PRACTICeS

TAbLe OF CONTeNTS10: LANDSCAPe• Robert Smithson, “A Tour of the Monuments of Passaic, New Jersey” (1967), in Nancy Holt, ed.The Writings of Robert Smithson (New york: New york University Press, 1979): 52-57.• Keller easterling, “Interchange and Container: the New Orgman,” Perspecta 30 (1999): 112-12112 Mar young: SeeMS FULL OF HOLeS14 Mar Miller: LANDSCAPe OF THe UNSeeN

11: eNvIRONMeNTS• Reyner banham, “A Home is not a House,” Architectural Design 39 (January 1969): 45-48• Anthony vidler, “Towards a Theory of the Architectural Program,” October 106 (Fall 03): 59-74.• bruno Latour, “air,” Sensorium: embodied experience, Technology, and Contemporary Art, ed byCaroline Jones (Cambridge: MIT Press, 2006), 105-10719 Mar Miller: CLIMATES OF CONTROL21 Mar Miller: exPLICIT AIR

12: exPeRIeNCe• Robert Levit, “Contemporary Ornament: The Return of the Symbolic Repressed,” Harvard DesignMagazine 28 (Spring/Summer 2008).• Hal Foster, “Design and Crime,” Design and Crime (and other Diatribes) (London: verso, 2002):13-2626 Mar Roddier: PHeNOMeNOLOGy & ITS AFTeRGLOW28 Mar Roddier: TRANCe-FORMATIONS

13: ATMOSPHeReS• Ignasi de Solà -Morales, “terrain vague” in AnyPlace, ed. by Cynthia Davidson, MIT Press, 1995:118-123• Martha Rosler, “Culture Class: Art, Creativity, Urbanism, Part III: In the Service of experience(s),”e-flux journal #25 (May 2011).02 Apr young: TOXICITY04 Apr Roddier: ReCeSSIONAL AeSTHeTICS

14: ReALITy• Jean baudrillard, “The Precession of Simulacra” in brian Wallis, ed., Art after Modernism: RethinkingRepresentation (New york: The New Museum of Contem-porary Art): 253-281.• Neil Leach, “Wallpaper* Person: Notes on the behaviour of New Species” in Kester Rattenbury,ed., This Is Not Architecture (Routledge: 2001): 231-24309 Apr Roddier: AFTeR THe ORGy11 Apr Roddier: beHIND THe AFFeCTIve SCeNe

15: ALTeRNATIveS• Reinhold Martin, “Occupy: What Architecture Can Do?” & “Occupy: The Day After”16 Apr Roddier: PUPPeTS, vANGUARDISTAS & GUeRIL-LAS

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ReADING_1.11.12 taylor_THe PICTURe IN QUeSTION

ReADING_1.11.12 taylor_THe PICTURe IN QUeSTION

Mark TanseyThe Innocent Eye Test (1981)

LeCTURe_1.9.12 roddier_MIND GAMeS

PReMISeShift between architectural styles stays constant through time, eventually finds way back to the

start.ReSPONSe

Where does representation fall on the scale between meaning and feeling? Representation, is reasonable, mediated, and fall on the side of meaning. Are words meaning or feeling? They are

cryptic and represent sounds, but are used to represent feeling.The different stances taken on representation by each theorist relating to how they each viewed

sentiment. ed Ruscha

Standard Oil (1967)

Me

AN

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LeCTURe_1.9.12 roddier_MIND GAMeS

PReMISeShift between architectural styles stays constant through time, eventually finds way back to the

start.ReSPONSe

Where does representation fall on the scale between meaning and feeling? Representation, is reasonable, mediated, and fall on the side of meaning. Are words meaning or feeling? They are

cryptic and represent sounds, but are used to represent feeling.The different stances taken on representation by each theorist relating to how they each viewed

sentiment.

Me

AN

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LeCTURe_1.11.12 roddier_A TITLe IS NOT A LeCTURe

Charles ScheelerCris Crossed Conveyors (1927)

LeCTURe_1.11.12 roddier_A TITLe IS NOT A LeCTURe

PReMISeThe map where everything is captured is the

least coded.ReSOPONSe

Where does architecture fall on the scale be-tween immediacy and representation? Depends on your proximity to the object where you fall on the scale. The level of representation often falls within three categories: index/icon/symbol, and the point is made that how you organize some-thing is far more important and interesting than

the information itself.

In an education where the emphasis of our work is representative in the forms of both diagrams

and more concrete forms such as models, plans and sections, it is insightful to see how

those items fit into this larger categorization of representation. These forms of representation

that we practice have the ability to fit into any of these three categories, depending on how we

choose to organize our information. How we represent one object or thought can explode

into a multitude of iterations, one could argue that an interesting organization of thought can

make a simple object suddenly complicated and intriguing. This is the purpose of representation

in architecture.

Charles ScheelerCris Crossed Conveyors (1927)

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ReADING_1.14.12rossi_THe ARCHITeCTURe OF THe CITy

eisenman_POST FUNCTIONALISM

ReADING_1.14.12rossi_THe ARCHITeCTURe OF THe CITy

eisenman_POST FUNCTIONALISM

LeCTURe_1.18.12 miller_ARCHITeCTURe OF ANALOGyALDO ROSSI & THe STRUCTURALIST IMAGINARy

PReMISeRepresentation of building from the apparatuses, the types , the city in which it resides and the

artifact it leaves behind. ReSPONSe

buildings in parts vs. buildings as wholes, and how Rossi and eisenman explore and try to define the Avant-garde. both try to explore architecture’s relevance to the city. The dichotomy of Form

vs. Function, and what constitutes a building, a city.

“Type is something constant. It is that which remains beyond the particular”—Moneo

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San Cataldo CemeteryModena, Italy

Aldo Rossi (1978)

LeCTURe_1.18.12 miller_ARCHITeCTURe OF ANALOGyALDO ROSSI & THe STRUCTURALIST IMAGINARy

PReMISeRepresentation of building from the apparatuses, the types , the city in which it resides and the

artifact it leaves behind. ReSPONSe

buildings in parts vs. buildings as wholes, and how Rossi and eisenman explore and try to define the Avant-garde. both try to explore architecture’s relevance to the city. The dichotomy of Form

vs. Function, and what constitutes a building, a city.

“Type is something constant. It is that which remains beyond the particular”—Moneo

PR

AC

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ReADING_1.25.12wigley_ReSISTING THe CITy

abbott_THe CONTexT OF DISCIPLINeS

ReADING_1.25.12wigley_ReSISTING THe CITy

abbott_THe CONTexT OF DISCIPLINeS

LeCTURe_1.23.12 young_THe FIGURe OF THe ARCHITeCT

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LeCTURe_1.23.12 young_THe FIGURe OF THe ARCHITeCT

PReMISeThe architect’s theory of the city corresponds

directly to how they fit into the discipline.ReSPONSe

The argument is made that the city is a form built on actions and decisions, and architecture

is a form of threat management. To be able to define yourself as an architecture you have to

define what the city is, and find your purpose in that definition. Work on the premise of doubt,

enigma, paradox & insecurity (Striking a match just to watch it burn). What is your emergency

theory of the city?

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LeCTURe_1.25.12 wilkins_THe PUbLIC ORIGINS OF PRIvATe PRACTICe

LeCTURe_1.25.12 wilkins_THe PUbLIC ORIGINS OF PRIvATe PRACTICe

PReMISeThe knowledge of architecture straddles be-

tween the self-taught, the apprentices and the educational institutions.

ReSPONSeWhy do we have the discipline of Architecture?

How do we find ourselves there?either through the path of being self-taught or

through an institution.

Society-->Activities-->High Stature-->Monitoring/bounding/Monopolizing-->Low

Stature

Disciplines establish boundaries around knowl-edge.

boundaries only exist because someone put them there.

Why do we have disciplines? Someone wanted to have monopoly over knowledge, so they

established a club to keep others out and ac-cept only the worthy. This isn’t a new practice,

formal clubs have existed for thousands of years, Architecture wasn’t the first club and it

wasn’t the last. but we have rules, boundaries, and requirements necessary to ‘join the club’.

This isn’t exactly a bad thing. Regulation allows for safety, and defines the boundaries of archi-

tecture where we—as a profession—want them to be. While I like the ideas of being able to set the boundaries wherever I want, they are there

for a reason, because without those boundaries architecture wouldn’t exist.

PU

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ReADING_2.1.12crawford_CAN ARCHITeCTS be SOCIALLy ReSPONSIbLe?

fisher_PUbLIC INTeReST ARCHITeCTURe: A NeeDeD AND INevITAbLe CHANGe

ReADING_2.1.12crawford_CAN ARCHITeCTS be SOCIALLy ReSPONSIbLe?

fisher_PUbLIC INTeReST ARCHITeCTURe: A NeeDeD AND INevITAbLe CHANGe

LeCTURe_1.30.12 wilkins_PRIvATe PRACTICe:A Public Duty?

PU

bLIC

S

St. Judes Children’s HospitalPaul Williams

Grant Park Music PavillionFrank Gehry

Sears TowerSOM

LeCTURe_1.30.12 wilkins_PRIvATe PRACTICe:A Public Duty?

PReMISeThe role of the architect depends on what you

define architecture to be.ReSPONSe

-Profession, Autonomy, Heightened Level of Responsibility

-The Dilemma of Professions: How do people perceive the importance of your practice? Have

to put forth a public image of ourselves in the public arena for public consumption.

Architect as:Self<-->Client<-->employer<-->Profession<-->Society

Artist<----------------->ServiceCrawford argues service is impossible.An Architect can fill many roles, and many argue

or ponder about what these roles are or should be. As an architect, you have the ability to pick

which role to fill. This is very appealing to some, and terrifying to others. We have produced our

own profession and convinced the world that they need us. Now what does one do with that

power?

St. Judes Children’s HospitalPaul Williams

Grant Park Music PavillionFrank Gehry

Sears TowerSOM

Professional AIA

PU

bLIC

S

LeCTURe_2.1.12 wilkins_PUbLIC PRACTICe:A Private Interest?

PReMISeArchitecture both mirrorrs traditional professions in the way it opperates, but differs on how it

interacts with the public component.ReSPONSe

The public component is what makes architecture unique. As long as you protect the health wel-fare and safety of the occupants, where you fall on the scale of your chosen role is up to you.

Why do people practice public architecture? Is it for the lucrative government contracts? Do they just want to help people? Do they want to be known as a person who helps people? (There IS a difference). Depending on the personality and the values of the individual, the attitude towards public architecture is determined. Public Architecture IS a private interest. you have to be inter-

ested to practice it. Interests & motives themselves may vary, but those motives are determined by the individual architect. It is still a private interest.

Rural Studio Cardboard HouseSamual Mockbee (1993)

LeCTURe_2.1.12 wilkins_PUbLIC PRACTICe:A Private Interest?

PReMISeArchitecture both mirrorrs traditional professions in the way it opperates, but differs on how it

interacts with the public component.ReSPONSe

The public component is what makes architecture unique. As long as you protect the health wel-fare and safety of the occupants, where you fall on the scale of your chosen role is up to you.

Why do people practice public architecture? Is it for the lucrative government contracts? Do they just want to help people? Do they want to be known as a person who helps people? (There IS a difference). Depending on the personality and the values of the individual, the attitude towards public architecture is determined. Public Architecture IS a private interest. you have to be inter-

ested to practice it. Interests & motives themselves may vary, but those motives are determined by the individual architect. It is still a private interest.

Rural Studio Cardboard HouseSamual Mockbee (1993)

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ReADING_2.5.12 simmel_THe MeTROPOLIS AND MeNTAL LIFE

ReADING_2.5.12 simmel_THe MeTROPOLIS AND MeNTAL LIFE

Metropolis(1927)

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ReADING_2.5.12 harvey_THe NeW URbANISM AND THe COMMUNITARIAN TRAP

ReADING_2.5.12 harvey_THe NeW URbANISM AND THe COMMUNITARIAN TRAP

LeCTURe_2.6.12 roddier_AGGReGATIONS AND IDeOLOGIeS

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brazil (1985)

LeCTURe_2.6.12 roddier_AGGReGATIONS AND IDeOLOGIeS

PReMISePhysical and social organizational methods have

much to do with the education of architects. ReSPONSe

Architectural education mostly prepares stu-dents to meet the building needs of wealthy

Individuals. Modernist architecture attempted to change that somewhat.

What does it mean to do no harm?(before aiming to save the world, lets try not to

damage it) How do you know if your designs are actually

helping society over harming them? Corbusier’s infinite city, the Chicago projects and the Pruitt

Igoe failure are all examples of where a building or set of buildings was intended to help a com-munity in some way (benefit of the doubt here)

but instead ended up having a adversely nega-tive effect. The battle between the small town

and the metropolis model wage on in Modern-ism, we just have to choose how to address

it. We each have our own preferences and as an architect you also are required to make that

choice.

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LeCTURe_2.8.12 roddier_PeRSPeCTIveS ON CITIeS

LeCTURe_2.8.12 roddier_PeRSPeCTIveS ON CITIeS

PReMISeHistory on how cities have been theorized.

1.City as an economic system2.City as a state of mind3.City as a social/cultural form4.City as a space

ReSPONSeThis lecture begins to look at the city through the lenses of many disciplines. Through economics,

Psychology, Sociology, and Urban Planning we begin to see the city as a multi-faceted object,

and depending on how you define it, people will interact with it in different ways.

What makes a city a city? It seems like this is al-ways in question as the city is seemingly always under crisis, be it physical, cultural, economical

etc. If there is a lot of crime, if they’re broke, if the city is degrading (Sometimes you’re lucky

enough to get all three), the city is in danger in the modernist sense. Once we move to post

modernism though, the city is merely a physical space symbolic of representational meanings, and there is less of an emphasis on the afore-

mentioned roles of the city. The paradigm here is that although we seem to have moved through

and even burst out of the post-modernist era, we still hold to our cities modernist values, and

it is still expected to play all of the original mod-ernist roles. Which is correct? How should one

really view the city? Is it individual preference as before, or is there a greater collective by which

cities should be evaluated?

ReADING_2.8.12 smith_FORDISM: MASS PRODUCTION AND TOTAL CONTROL

PR

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ReADING_2.8.12 smith_FORDISM: MASS PRODUCTION AND TOTAL CONTROL

HeNeRy FORD AS A SOCIAL eNGINeeR

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LeCTURe_2.13.12 mccullouch_HeNRy FORD AND ALbeRT KAHN:

THe ARCHITeCTURe OF PRODUCTION

LeCTURe_2.13.12 mccullouch_HeNRy FORD AND ALbeRT KAHN:

THe ARCHITeCTURe OF PRODUCTION

PReMISeAmerica exists as a society of Fordism

ReSPONSeMass Production + Mass Consumption=Society

of FordismA detailed history of Henry Ford’s role in the his-

tory in the City of Detroit and his role as a creator in American culture.

Is Ford a producer of culture or a provider of services? Does he fall within the limits of the

boundaries of architecture? What about plan-ning? What corner of the grid of architects might

he fall into?

PReMISeThe solid and the void have equal importance when it comes to the design process.

ReSPONSeWhat does the figure ground condition begin to say about the city of Detroit? As the culture of

interchangeable parts became more prominent in this country did we also begin to see those in our cities? every “place” in this country now has all of the same ingredients: Skyscrapers, sports

stadiums, interstates, various tourist attractions, all a result of the expanding city. These items are used to create a density, a density that cannot exist without a population to inhabit them.

As time passes the densities change from many small figures clustered together to fewer larger figures more widespread over the same area. What is the space which becomes the one we

should study? The positive spaces of the past or the negative spaces left behind by the ones which didn’t make it?

LeCTURe_2.15.12 young_DeNSITy OF eMPTINeSS

PR

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UC

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Still Life (Natura Morta) Museo Morandi (1956)

PReMISeThe solid and the void have equal importance when it comes to the design process.

ReSPONSeWhat does the figure ground condition begin to say about the city of Detroit? As the culture of

interchangeable parts became more prominent in this country did we also begin to see those in our cities? every “place” in this country now has all of the same ingredients: Skyscrapers, sports

stadiums, interstates, various tourist attractions, all a result of the expanding city. These items are used to create a density, a density that cannot exist without a population to inhabit them.

As time passes the densities change from many small figures clustered together to fewer larger figures more widespread over the same area. What is the space which becomes the one we

should study? The positive spaces of the past or the negative spaces left behind by the ones which didn’t make it?

LeCTURe_2.15.12 young_DeNSITy OF eMPTINeSS

ReADING_2.19.12 agamben_HOMO SACeR

UR

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ReADING_2.19.12 agamben_HOMO SACeR

LondonNovember 2011

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LeCTURe_2.20.12 young_URbANISM IS NOT THe CITy

LeCTURe_2.20.12 young_URbANISM IS NOT THe CITy

Starrett City, brooklyn

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LeCTURe_2.20.12 young_URbANISM IS NOT THe CITy

PReMISeOrganizational methods do not a space make.

ReSPONSeWhat is the relationship between the strip and the box and how do they fit into greater systems? These objects work well as a compliment to the Automobile, and the automobile in its relation to

the overall suburban context? As our cities become decentralized so do our production process-es. expansion only breeds more expansion, and the treadmill of technology begins to turn faster.

From the automobile allowing us to travel farther, faster, we see production stratify and expand as a parallel. Capitalism and the economy have become our new craftsmanship, our new concerns over the quality product. Loose networks and decentralization create a new urban and business

landscape in American cities.

LeCTURe_2.20.12 young_URbANISM IS NOT THe CITy

PReMISeOrganizational methods do not a space make.

ReSPONSeWhat is the relationship between the strip and the box and how do they fit into greater systems? These objects work well as a compliment to the Automobile, and the automobile in its relation to

the overall suburban context? As our cities become decentralized so do our production process-es. expansion only breeds more expansion, and the treadmill of technology begins to turn faster.

From the automobile allowing us to travel farther, faster, we see production stratify and expand as a parallel. Capitalism and the economy have become our new craftsmanship, our new concerns over the quality product. Loose networks and decentralization create a new urban and business

landscape in American cities.

UR

bA

NIS

M

LeCTURe_2.22.12 baldwin_STATeS OF exCePTION

PReMISeAgamben’s ‘camp’ as a paradigm of Urban Development.

ReSPONSeWhere do our natural life and our political life begin to intersect? In the camp these separations begin to break down. With the idea of expanding of the big box culture, and experiencing a city

without ever setting foot on the sidewalk, due to the revival of the mega structures. These are castles of capitalism, and when you’re inside you are a prisoner to the king. An ‘evil paradise’ one can occupy somewhere desirable but still be a prisoner within the walls of these new castles. you

are only a person, not a person with political rights, a slave to the institution.

DMC Proposed expansion(2010)

LeCTURe_2.22.12 baldwin_STATeS OF exCePTION

PReMISeAgamben’s ‘camp’ as a paradigm of Urban Development.

ReSPONSeWhere do our natural life and our political life begin to intersect? In the camp these separations begin to break down. With the idea of expanding of the big box culture, and experiencing a city

without ever setting foot on the sidewalk, due to the revival of the mega structures. These are castles of capitalism, and when you’re inside you are a prisoner to the king. An ‘evil paradise’ one can occupy somewhere desirable but still be a prisoner within the walls of these new castles. you

are only a person, not a person with political rights, a slave to the institution.

ReADING_3.4.12de certeau_WALKING IN THe CITy

hollevot_WANDeRING IN THe CITy

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ReADING_3.4.12de certeau_WALKING IN THe CITy

hollevot_WANDeRING IN THe CITy

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LeCTURe_3.5.12 roddier_THe SPeCTACLe OF ARCHITeCTURe

Joseph beuysDemocracy is Merry (1973)

LeCTURe_3.5.12 roddier_THe SPeCTACLe OF ARCHITeCTURe

PReMISeA narrative of revolutionary movements & the

secret history of the 20th Century.ReSPONSe

Totality of the Image & the edges of the Con-struct. The city is a social construct, both figura-

tively and literally, and exploring it has become somewhat of an art-form. The image of the city

is only as big as what we can explore and docu-ment, often this documentation is a call for a

revolution.The Territory of everyday Life. The city is where

we live, the geography our memories and sense of self we are often tied to. What are the strate-

gies we use to occupy our life and the places we inhabit? Only we have the power to change the

world we live in.Tactics. How do we change the world? Art,

politics, and architecture are all modes of this change, but perhaps these are merely strategies

(top down) of these tactics (resistances), but resistant art, politics, and architecture become

the true form of our culture, of our cities, and our people.

CO

UN

TeR

-CU

LTUR

eS

LeCTURe_3.7.12 miller_COUNTeRCULTURAL PRACTICeSDrop City, CO

(1967)

LeCTURe_3.7.12 miller_COUNTeRCULTURAL PRACTICeS

PReMISeThe world has a complex relationship to

the culture s which operate within it.ReSPONSe

This lecture was centered mainly on the potential flexibility of the city, and the effect

of drugs and anarchy on architecture. In the 1960’s and 70’s the study of architec-ture was about sticking it to the man, and

by opposing traditional building styles, lifestyles, and cityscapes. It was a time to fight the rule book, and the lesson here is that many of the projects we see have no

lasting impression other than as an ‘art’ piece. We cannot see them at fruition be-

cause they never made it there. There was no substantiality to the work. And although

it theorizes a lot about the culture of the time, and the culture of today, the style did

not last. Maybe that’s saying something. Today we are not trying to build cities that

walk or trying to blow up our televisions. Maybe Ant Farm didn’t have the right

ideas.

Drop City, CO(1967)

READING_3.11.12smithson_A TOUR OF THe MONUMeNTS OF PASSAIC, NeW JeRSey

easterling_INTeRCHANGe AND CONTAINER:

THe NeW ORGMAN

LAN

DS

CA

Pe

READING_3.11.12smithson_A TOUR OF THe MONUMeNTS OF PASSAIC, NeW JeRSey

easterling_INTeRCHANGe AND CONTAINER:

THe NeW ORGMAN

LECTURe_3.12.12 young_SeeMS FULL OF HOLeS

PReMISeStudying the relationship between the object-oriented culture of design, and the environment.

ReSPONSeHow these relate to the scientific theory of entropy and randomness are apexial. by giving us

multiple definitions of the word landscape, Jason employed one of the tactics I like to use when tackling a particularly challenging reading or theory: Get out a dictionary. Sometimes the concrete

definitions provide you with an anchor around which to tie your understanding. How we begin to document this understanding provides us with a landscape in architectural theory. The landscape and the datascape become the new form of representation and the object falls by the wayside. It

is no longer about the thing but the scope of the thing.

LAN

DS

CA

Pe

Asphalt RundownRobert Smithson (1969)

LECTURe_3.12.12 young_SeeMS FULL OF HOLeS

PReMISeStudying the relationship between the object-oriented culture of design, and the environment.

ReSPONSeHow these relate to the scientific theory of entropy and randomness are apexial. by giving us

multiple definitions of the word landscape, Jason employed one of the tactics I like to use when tackling a particularly challenging reading or theory: Get out a dictionary. Sometimes the concrete

definitions provide you with an anchor around which to tie your understanding. How we begin to document this understanding provides us with a landscape in architectural theory. The landscape and the datascape become the new form of representation and the object falls by the wayside. It

is no longer about the thing but the scope of the thing.

LECTURe_3.14.12 miller_LANDSCAPeS OF THe UNSeeN

LAN

DS

CA

Pe

Rose Kennedy GreenwayBoston (2004)

LECTURe_3.14.12 miller_LANDSCAPeS OF THe UNSeeN

PReMISeLandscape is subject to the passage of time. Once you let goof a certain degree of control,

there are endless possibilities.ReSPONSe

One of the definitions of landscape given forth to us in class is that it is something you can never see all of. Really this means that any-

thing can be made into a landscape. various networks and operational formats become

the next target of the landscape, such as the Jeffersonian Grid, the interstate highway system, and the Rose Kennedy Greenway in

boston. The idea of a landscape being able to be anything has its implications. History is the trace of physical patterns, so does that mean that these physical ‘landscapes’ (aka nodes & networks) are really just documentation of

the history we have created? Landscape is such a boring word. What if we began to use

these patterns as historical references instead of referring to them as ‘landscapes’? They are not. They have historical significance; they are

not just placeholders.

ReADING_3.18.12banham_A HOMe IS NOT A HOUSe

vidler_TOWARDS A THeORy OF THe ARCHITeCTURAL PROGRAM

eN

vIRO

NM

eN

TS

ReADING_3.18.12banham_A HOMe IS NOT A HOUSe

vidler_TOWARDS A THeORy OF THe ARCHITeCTURAL PROGRAM

eN

vIRO

NM

eN

TS

ReADING_3.18.12 latour_AIR

ReADING_3.18.12 latour_AIR

Chemical WarfareWorld War I

LeCTURe_3.19.12 miller_CLIMATeS OF CONTROL

eN

vIRO

NM

eN

TS

Cummins Corporate HeadquartersColumbus, IN

LeCTURe_3.19.12 miller_CLIMATeS OF CONTROL

PReMISeThe form is no longer the item of importance, the

mechanical function of the building becomes the new landscape.

ReSPONSeIn our desire to acquire information and control entropy, we regulate both our interior and exte-rior environments. The specific development of

architecture to contain mechanical environmen-tal systems is one of the key points of modern-

ism. Architecture to create entire worlds indoors and our attempts to control these pseudo-

worlds is in an attempt to fight entropy by beat-ing nature at its own game. In this case it is only

the tip of the iceberg of our attempts to control and create entire environments. A building is

a building, and should be treated as such. It is not a landscape, it is a node often with historical

significance.

eN

vIRO

NM

eN

TS

LeCTURe_3.21.12 miller_exPLICIT AIR

biosphere IIUniversity of Arizona (1991)

LeCTURe_3.21.12 miller_exPLICIT AIR

PReMISeenvironmental performance now takes prece-

dence over architectural form.ReSPONSe

environmental performance now takes prece-dence over architectural form. Function over

form is the new way to design, but it is not new. The function has been altered from what it once

was but when we think about purely functional buildings we can consider Ford and Kahn as the

original designers of Function over form build-ings. Today ecological awareness has almost

become the new form, as we have tried to merge form and function in the name of ‘green’

architecture. The bit about the biosphere II project was incredibly compelling and the best part was that as the story was being spun out, I already new the outcome. Failure. I knew that

you couldn’t beat nature; it is simply impossible to fight the entropy of nature. And ultimately the

projects downfall was an army of ants, among other things. you were unable to exchange infor-

mation outside the biosphere. by creating their own nature, they created their own entropy, one

that they couldn’t contain. Like any superhero movie, the evil villain creates a power they can-not control. Ironically, the humans became the

Green Goblin; ultimately having the power they create turn on them in destruction.

levit_CONTeMPORARy ORNAMeNT:THe ReTURN OF THe SyMbOLIC RePReSSeD

ReADING_3.25.12

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levit_CONTeMPORARy ORNAMeNT:THe ReTURN OF THe SyMbOLIC RePReSSeD

ReADING_3.25.12

ReADING_3.25.12 foster_DeSIGN & CRIMe

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ReADING_3.25.12 foster_DeSIGN & CRIMe

obamapacman.com

LeCTURe_3.26.12 roddier_ PHeNOMeNOLOGy& ITS AFTeRGLOW

PReMISePhenomonology was originally during the modernist movement and prior to that in-

tended as a reduction of representational layer in the service of the “unmediated, direct experience”--used in the service of spiritual programs.

ReSPONSeAs we analyze a work of Architecture, we can assess the premise of the building as fall-ing into one of these three categories. The question I have is can we perceive a building in more than one way? Can the structure in question fall under more than one umbrella?

Can we answer to more than one God of Architecture, or are we bound to design for one and only? The answer to all is surely yes.

Constantin brancusiThe Seal (1943)

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LeCTURe_3.26.12 roddier_ PHeNOMeNOLOGy& ITS AFTeRGLOW

PReMISePhenomonology was originally during the modernist movement and prior to that in-

tended as a reduction of representational layer in the service of the “unmediated, direct experience”--used in the service of spiritual programs.

ReSPONSeAs we analyze a work of Architecture, we can assess the premise of the building as fall-ing into one of these three categories. The question I have is can we perceive a building in more than one way? Can the structure in question fall under more than one umbrella?

Can we answer to more than one God of Architecture, or are we bound to design for one and only? The answer to all is surely yes.

exP

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LeCTURe_3.28.12 roddier_TRANCeFOMATIONSKölner DomKöln, De

St. Patrick’s Catholic Churchbrighton, MI

LeCTURe_3.28.12 roddier_TRANCeFOMATIONS

PReMISeTools of design in the production of unmediated

experience have been recycled to the service of consumption. The lack of ‘critical distance’ is

appropriate towards conditioning.ReSPONSe

The key concept to take away from this lecture is the narrative on the Red Queen effect. We can-

not simply re-create an object that already ex-ists; it must be better than the last in some way. Although the forms may be the same initially, on

closer analysis we find that they have different meanings, different methods of production, and

different significations to the user. If we can no longer gain a response of empathy

or disgust from an open wound, why can we not gain a response to its beauty? While culture cycles through all possible reactions to such a sight, we are bound to attempt to extract awe under every emotion possible. Some roads to

the state of awe are more passable than others, it seems.

ReADING_4.1.12 rosler_CULTURe CLASS: ART, CReATIvITy, URbANISM, PARTIII

ATMO

SP

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ReADING_4.1.12 rosler_CULTURe CLASS: ART, CReATIvITy, URbANISM, PARTIII

ATMO

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ReADING_4.1.12 de sola-morales_TeRRAIN vAUGe

ReADING_4.1.12 de sola-morales_TeRRAIN vAUGe

ATMO

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LeCTURe_4.2.12 young_TOxICITy

Dusty Relief R&Sie(n), Bangkok (2002)

LeCTURe_4.2.12 young_TOxICITy

PReMISeArchitecture can be used to raise awareness for

these toxic environments, either to fix or to foil catastrophe.ReSPONSe

How do we take these flaws of the environ-ment either man or nature made and respond

to them? We have to be sensible to areas of concern, and make ourselves aware of areas

unknown.

ATMO

SP

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Re

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LeCTURe_4.4.12 roddier_ReCeSSIONAL AeSTHeTICSeliasson’s Green Rivers (1960’s)

Green Rivers (Today)

LeCTURe_4.4.12 roddier_ReCeSSIONAL AeSTHeTICS

PReMISeThe Aesthetics of Toxicity, Nostalgia, and Rela-tions construct together the Recessional Aes-

thetic era.ReSPONSe

The symbolic role of Toxicity, nostalgia and rela-tionships is about authenticity. Therefore, making

a river green today is merely a green river, be-cause it has become a symbol of itself, instead of its original meaning, a call to environmental-ism. High relationship to Joseph beuys and his calls to political action. This Lecture tied to his work extensively, and he was even involved in

one of the green river ‘Aktion’.

Green Rivers (Today)

leach_WALLPAPeR * PeRSON: NOTeS ON THe beHAvIOR OF NeW SPeCIeS

ReADING_4.11.12baudrillard_THe PReCeSSION OF SIMULACRA

RE

ALITY

leach_WALLPAPeR * PeRSON: NOTeS ON THe beHAvIOR OF NeW SPeCIeS

ReADING_4.11.12baudrillard_THe PReCeSSION OF SIMULACRA

RE

ALITY

LeCTURe_4.9.12 roddier_AFTeR THe ORGy

Detroit Demolition Disneyland(2005)

LeCTURe_4.9.12

PReMISeThere exists a paradox between socially en-

gaged art and its relationship to the aesthetic.ReSPONSe

The title relates to two people engaged in an orgy, where one turns to the other and asks,

“What are you doing after the orgy?” Relation-ship between the current and the future is

flawed; we are unsure how to handle different forms of engagement. Removed from the real world, unsure of how to re-enter it. It is the ulti-

mate bottom up creation of community.

roddier_AFTeR THe ORGy

RE

ALITY

LeCTURe_4.11.12

PReMISeReality only exists as rotten shreds which cling to the map, and the map is so perfect it touches

reality at every point.ReSPONSe

Is it philosophy’s duty to speak on a meaningful life? Although that is the point of philosophy, I am unsure if it has the constituency over my life. The film touches on many aspects of the human

condition, and although we can analyze all we want, statistics cannot predict the future. Just as these philosophers can have opinions on the meaning of life, life doesn’t necessarily have those

meanings. Interesting points of view, but I feel like I was being bombarded with too much informa-tion at once, to the point where it became impossible for me to sort through the entropy.

roddier_beHIND THe AFFeCTIve SCeNeThe Matrix (1999)

LeCTURe_4.11.12

PReMISeReality only exists as rotten shreds which cling to the map, and the map is so perfect it touches

reality at every point.ReSPONSe

Is it philosophy’s duty to speak on a meaningful life? Although that is the point of philosophy, I am unsure if it has the constituency over my life. The film touches on many aspects of the human

condition, and although we can analyze all we want, statistics cannot predict the future. Just as these philosophers can have opinions on the meaning of life, life doesn’t necessarily have those

meanings. Interesting points of view, but I feel like I was being bombarded with too much informa-tion at once, to the point where it became impossible for me to sort through the entropy.

roddier_beHIND THe AFFeCTIve SCeNe

martin_OCCUPy:THe DAy AFTeR

ReADING_4.15.12martin_OCCUPy:WHAT CAN ARCHITeCTURe DO?

ALTe

RN

ATIveS

martin_OCCUPy:THe DAy AFTeR

ReADING_4.15.12martin_OCCUPy:WHAT CAN ARCHITeCTURe DO?

LeCTURe_4.16.12 roddier_PUPPeTS, vANDGUARDISTAS, AND GUeRILLAS

ALTe

RN

ATIveS

Herbes FollesEncore Hereux (2001)

LeCTURe_4.16.12 roddier_PUPPeTS, vANDGUARDISTAS, AND GUeRILLAS

PReMISeAs architects, we straddle somewhere between

cultural power, economic power and utopian idealism. Within us these ideas conflict, and in

times of conflict, this system falls apart.ReSPONSe

Where you stand as an Architect has a lot to do with where you stand in your career. The

system transitions from means to other means, although there is really no end to these cyclic

relationships. Right now, we are experiencing a grassroots culture in architecture, but the cycle

cannot end as long as humans exist. We just find ourselves back at the beginning as soon as

we reach the end.

WINTeR 2012

The Matrix (1999)