draw a plan

Royal College of Art | School of Architecture | ADS9 Extended Brief 2019 - 20

Royal College of Art | School of Architecture | ADS9 Extended Brief 2019 - 20
 AURA
a call for open architecture

Royal College of Art | School of Architecture | ADS9 Extended Brief 2019 - 20


Yves Klein, ‘Air Architecture’, 1961. Jets of
fire as spatial construct.
Carsten Nicolai, ‘syn chron’, 2005. a
crystal-shaped body of synchronised play
of light and sound for collective assembly
Fortnite World Cup 2019. A large living
room for the merging of labour, leisure,
competitive sport and consumption.
AURA
a call for open architecture
The Open is both unbounded and precise. The Open does not mean ‘anything goes’, or a total
absence of architectural elements. We have become dependent on walls to give us the ability
to negotiate, share and reason with others. The idea of Openness rejects this compulsion to
such familiar forms of division, destroys the power of the enclosure and wipes away historical
orders. The Open challenges our reliance on architectural categories of type, context, scale,
function and style in the conception of space. The Open is beautiful.
ADS9 investigates architectures of openness. The studio is concerned with designing spaces
that give distinct forms and spatial qualities to modes of co-existence. In previous years,
the work focused on spatial organisation, this year we will focus on Aura and use spatial
phenomena to construct space. How much physical presence do we need? How do we design
Aura as a form of organisation? Or as fields of spatial mediation? How can we cultivate new
forms of spatial and social relationships?
Aura
Ungraspable, immersive and fleeting. Breathing an immaterial architecture in a single
collective gulp. Aura is a form of presence. It is tied to the phenomena of distance – the
distance at which we understand presence emanating from objects, environment or people.
It is a charged spatial quality that exceeds its subject. It defines the relationship between the
subject and its observer, the space and its inhabitants. Aura is not restricted to a singular
private experience. The studio imagines aura as an interior world of collective experience and
perpetually constructed space, which might bring about a dynamic relational delight.
ADS9 envisions an architecture in which the barriers between a vast spectrum of scales,
material physicality and spatial phenomena, artificiality and ecological matters, architectural
presence and the territorial completely dissipates, producing an immaterial architecture
where walls and roofs are made from senses, environment, colours, information, energy
and spatial perception. For us, these are unseen materials for the construction of a new
architectural language.
In previous years, the students were challenged to reconsider our reliance on walls as
the main architectural element to define space. While pursuing openness through spatial
organisation and abstraction of form, the need to define relationships between space and
forms of togetherness became apparent. Such a production of space requires a specific
mode of engagement. In this, aura is not exclusive to its subject, nor is it accidental. Aura
is incomplete – it exists as a designed dynamic relationship with the bodies of inhabitants it
permeates, diffused across a continuously expanding ground. How can spatial phenomena –
such as the atmospheric environment – be radicalised to define space? Our design strategy
recognises the productive ambiguity of spatial possibilities and generosity of space – to
imagine Aura as a constructed milieu for emerging subjectivities.
Royal College of Art | School of Architecture | ADS9 Extended Brief 2019 - 20
Emerging Subjectivities
ADS9 looks at the emerging ways in which we live, work, learn, play and love in the NOW. In
particular, the studio is fascinated by the collective forms of co-existence that tend towards
openness by constantly redefining lifestyles, traditional kinship ties and values system. In
the past, students have investigated: multi-generational neighbourhoods; domesticity and
communal kitchens in Cuba; the delicate balance of everyday life in war-torn Somalia; retired
sun tribes, whose living are governed by pure leisure in Lanzarote; and the production and
consumption of digital idols in a contemporary Warholian Factory. This myriad of alternative
means of constructing subjectivities is the context in which our architecture is grounded.
What are the socio-economic undercurrents that drive the emergence of these forms
of co-existence now? How do we study these worlds reconstructing collective identities,
relationships and social organisations? What can we learn from these seemingly
unconventional ways of living? How can this help us to reflect on our own daily life and
imagine new architectural forms?
Architectural conventions typically generate a proliferation of individual insular spaces
that each correspond to a single function. This reinforces an assumed exclusivity between
categories, from the right to ownership and context, interior and the wider ecology,
domesticity and world of work. The distinctions between living, labour and leisure have
become increasingly impossible, however, together with deeper questions around the
reproductive labour that sustains our physical, mental and affective well-being. Is it suitable
– or regressive – that architecture seeks to construct space with a reliance on walls, façades,
doors and locks in an era of new emerging forms of living? By contrast, can we imagine the
possibility of spaces with an emancipatory character that can cultivate new kinships and
intimacy?

How do we experiment and design?

ADS9 experiments with large-scale line drawings and models, which are spatial constructs
in their own right. It is a highly iterative process that critically questions design. How can
we explore new modes of drawings to capture unseen immaterial conditions that define
our spaces? In 2019/20, alongside these large–scale models and prototypes, we will also
experiment with the use of films and other moving imagery. We will continue to extend our
collaboration to work with artists and consultants from within and outside of RCA on material
exploration, with a particular focus on experiences and phenomena.

For YR1 students, the design project will focus on a multi-storey urban block that
fosters emerging ways of living, working, learning, playing and loving. This design will be
accompanied by technical experimentation and prototyping. In ADS9, YR2 students have
always pursued deeply personal subjects and obsessions in their work. The design project
is open to the ambitions of our students. In response, YR2 students will develop their own
personal critical framework and design methodology to achieve a high level of architectural
resolution.

How do we design an ‘Aura’ of openness? ADS9 has a deep commitment to space and
creating architecture that is imbued with an urgent beauty. Space does not simply frame
– it is inseparable in how we express, embody and enable knowledge, ideas and life. How
can space and its representation capture an immaterial architecture that is spatially
indeterminate? What kind of beauty and aura of openness can you imagine?

Royal College of Art | School of Architecture | ADS9 Extended Brief 2019 - 20

ADS9 Teaching Staff

John Ng studied architecture at the University of Bath and the AA, where he has taught
since 2011. He is also a visiting lecturer at the RCA. He founded ELSEWHERE and practises
architecture in London. His work has been shortlisted for, and has won, a number of
international competitions.

Zsuzsa Péter Zsuzsa Péter graduated with Diploma Honours from the AA in 2018. She has
previously work with CRAB studio and Farshid Moussavi Architecture. She is also teaching in
Studio Diaz Moreno and Garcia Grinda at the Angewandte in Vienna.

James Kwang-Ho Chung is a visiting lecturer at RCA, Intermediate 6 Unit Master at the AA,
and an architectural designer for Hopkins. He has lectured and taught at the AA, RCA and
Leeds School of Architecture.
A Call for Open Architecture
Open is not the landscape that is given, but the one, highly artificial, that we can construct for
ourselves to inhabit.

Open is the space of constant negotiation and active presence – between us, our
surroundings and those who we share it with.

Open rejects imposed use and rigidly prescribed function – while not undefined but carefully
organized, spatial condition do not dictate but only support actions that could happen.

Open means new models of the live/work/play – new rituals and ‘axis’ of the everyday.

Open wipes away historical orders of power, enclosures – to start anew

-To wipe away architectural pre-conceptions – to destroy the house/office/school – destroy
the programme - destroy the component (bathroom as typical shower, toilet, sink, vanity
etc.) to make way.

Open explodes what we know as housing, office etc. – explode the parts – think of how we
begin with basic part of living/sleeping/playing etc. (e.g. Sou Fujimoto – the basic functions of
life – not the programmes) – these clusters also developed in these histories.

Open rejects our own compulsion to nostalgia in all of its forms … and inquire into how our
technologies can transform us into completely new, loveable and interesting creatures. …
Creatures who talk in a completely new language.

Open means redefining room – as no longer something divided and but as little breathing
room – “separate part of a building, enclosed by walls, a floor and a ceiling.” Before that
room, or Proto-Germanic rümaz, or Old English rüm, meant spacious, roomy, open (Ðis
rume land - the wide world), free, unrestricted, expansive, generous.

Open means reconsidering the idea of privacy and boundaries – privacy comes from the
“Latin word privare [which] means “to deprive” or “to rob.” Being in privato thus means
being in a space wrested from a collective whole, which must be defended; an act of
aggression against the community: one robs something and makes it inaccessible to others.
Only then does it become possible to be apud se, chez soi, at home.”

Open means redefining freedom – from individual exploits to be conquered and defended to
that which is to be found in as a relationship with others who are different, and finding that
Royal College of Art | School of Architecture | ADS9 Extended Brief 2019 - 20

conflict and difference is perpetual, beautiful and what makes us communal in the first place
(the attraction of opposites)

Open is unbounded, and yet, precise, specific and concrete. It does not mean an absence of
walls and controls, but recognises what is the known and familiar form of division, and re-
imagines a new architectural form for the emerging now.

Open does not mean “anything goes” or vast emptiness. It is spatially exuberant, finely tuned,
calibrated and sophisticated.

Open reclaims space as a point of reference. It holds a mirror to the world now and re-
establish our relationship with it.

Open is neither utopian nor dystopian, but speculative and visionary. It is at the tipping point
of becoming reality, almost.

Open is beautiful
About ADS9

The Project
YR1 Studio Project 40 Credits | YR2 Thesis Project/Independent Research Project 60 Credits

The main project is to design a new building in a city, for an emerging community now, real
or speculative. The design project is for a large community for living/working/learning/
playing/loving, an architecture with no walls, no enclosures, and no locks. The choice of the
city will be defined by the subject/community chosen.

YR1 students - Focus on the design of 10 000m2 multi-storey building

YR2 students - Free to propose the design project

ADS9 works in a parallel framework. We do not develop projects in a linear fashion, instead
we will experiment with three core questions simultaneously. We will gradually establish
links, that is, a critical intelligence between all three strands through an architectural
project.

Subject/Community – How to design a space for emerging modes of living, working, playing,
learning and loving? How do people construct their subjectivity?
Space – How to design a space that challenges the conventions of boundaries and enclosure?
Technology – How to design a space with no boundaries generated with emerging
technologies?

ADS9 Portfolio
How do we experiment and design?

Experiment with big format drawings. Coloured line-based drawings

Experiment with big format models. 1:1 artefacts, scaled models and experimental TS
models
Experiment with big format book. Search & Research, TS Book (1st year, 120 pages max)
Experiment with big writings. Seminars, Thesis, economic models, project statements

ADS9 will be designing strange and fantastical spaces with a high level of design resolution,
reaching the tipping point when a project almost becomes reality.
Royal College of Art | School of Architecture | ADS9 Extended Brief 2019 - 20

ADS9 main tool of experimentation will be coloured line based drawings and models. The
studio has built up a collective language of representation. For this year, we will push the
extremities and radicality of our representation constraints, can you imagine drawings woven
as tapestry, performative line drawings as films, or a hybrid between drawing projective
drawings and models? On one hand they are highly technical drawings of the architectural
projects; on the other hand, each student will develop highly individual representation
techniques with coloured lines to design. We are deeply committed to beauty and spatial
exuberance. Drawings that can quantify and qualify an urgent beauty.

ADS9 believes the architectural project is where Space embodies and expresses knowledge
and ideas; the portfolio then becomes the representation of that space. The architectural
project and the portfolio are a form of cultural production that has to be intelligent,
provocative and radical. We do not see a separation between research, provocation and
design outputs, but the architectural project embodies all strands of experimentation to
become the dominant focus of the portfolio.
 MA YR 2 Students
YR2 students will be asked to write two parallel texts for the project brief / thesis. The texts
state the critical agenda and architectural proposal of the project. It has to be thoroughly
researched and supported by reference readings and precedent projects. The project brief
/ thesis statements will form the core “backbone” of the project which will be revisited
throughout the whole year to scrutinize its criticality.

Design Strategy (Urban Strategy & Project Brief)

YR2 20 Credits
As architects we produce many forms of writing. They are open, operative writings that we
use to establish a reciprocal working relationships with others. We write emails, standards,
contracts, specification, scripts, AutoCad commands, rules, poems, song lyrics, excel
spreadsheet, comments, text messages, manuals, articles, post-it notes. For ADS9, the
design strategy is not a summary blurb for the studio project. It is an evolving piece of critical
writing that should be designed as paper space, accompanied by a comprehensive individual
dossier of research materials and bibliography.

Alongside the HTS course, the urban strategy forms part of the design strategy. For ADS9,
the emerging subjectivity is the context. Students have to study and understand the socio-
economic and technological forces that shape the physical form of the cities. How does your
chosen emerging subjectivity relate to the city at large? How does your chosen topic form a
dialogical existence with other social groups?

MA YR 1 Students
Technical Studies
YR1 20 Credits
“Architects must generate technologies which are creative in operation, and not merely
employ existing technologies as useful tools. The generation of such technologies may itself
become the main creative task of the designer.”
Cedric Price, Creativity and Technology Techniques et Architecture, March 1975
Pneumatic Dome, Frei Otto.
ADS9 believes that technology is a form of cultural construction that can be subjected to
beauty and spatial modification. Too often architects use technology to apply to an already
fully formed design, hence the promise of technology is severed from the creative operation
of design. Technology essentially is a set of practical knowledge, which is culturally
constructed through hi-jacking and infiltration into our daily lives. When air conditioning
and fluorescent lighting become prevalent, we realise we can construct large continuous
interiors; what are the equivalent technology now that can allow us to challenge our
assumption of boundary? We would like to search for emerging technology now (micro and
virtual systems, structural and environmental systems) to generate new forms of spatial
organisations.

For 2019-20, the 1:1 experiment is a fundamental part of the studio project in term 2. The 1:1
is a work-in-progress physical detail or a simulation of structural / environmental / material
phenomenon which can test the architectural limits of your project. How do you extract,
Experiments with soap film, Frei Otto.
translate and implement observations, failures and principles into a series of design
iterations? Students should test the project to the brink of destruction.

ADS9 Technical Studies focus:

Royal College of Art | School of Architecture | ADS9 Extended Brief 2019 - 20

- Fantastical and imaginative use of emerging technology to generate novel spatial

phenomena
- Testing and developing physical and/or digital models
- Technical studies journal (no longer than 120 pages) documenting development, case
studies and how technology generate space

Iterations of design models, Studio Olafur
Eliasson.
Iterations of design models, ADS9 2017-18
Term 1
In term 1, we will be working in small groups of 3-4 students. Term 1 is structured as a
series of short briefs to assemble a collective body of knowledge and spatial experiments for
the core studio project. Individually, 2nd year students will develop a design strategy and the
1st year students will identify the main topic of experimentation for technical studies.
Brief 1
Search & Research
Week 2 - 6 | Duration - 5 weeks
Output - Large format book | Group & Individual Work
We will focus on searching for Subject/Community, Space and reading seminars as a
group. Towards the second half, we will focus on identifying individual project themes and
researching your selected emerging conditions.
The search and research will be accompanied by a seminar series to reflect and identify
emerging topics on the Open for your projects.
Throughout the brief, 2nd year student will draft the project brief/thesis and 1st year students
will draft a technical studies statement identifying the main topic of experimentation for the
core design project. The work will be assembled into a big format book for each group that
provides a base of collective knowledge for the studio.
1. Emerging Subjectivity
The subjectivity is collective forms of co-existence that tends towards opennes; a fringe
social phenomenon and community that exemplifies what will be emerging as mainstream in
10 years, as a consequence of current technological shift and social/economic realities. Are
there community who increasingly occupy the continuous interior or the space of absolute
exposure? We will identify and search for these emerging subject and community.
The Subject / Community should be defined by each student individually with critical readings
and research. We will use texts and drawings to test the scalar limitations and hardness of
boundaries of ‘family of strangers’ but also for new and variable forms and scales of ritual,
everyday life together.
Royal College of Art | School of Architecture | ADS9 Extended Brief 2019 - 20
A “modus operandi” should be identified that enables the emergence of the subjectivity and
highlight the forms of behaviour and property held in common. For example, the co-housing
projects of Zürich with all residents co-owning what is a virtually a city-in-city with housing (
in some cases from one room family unit to 17 room apartment as one ‘household’), schools,
leisure spaces, cultural spaces, shops, restaurants etc. How are they organised? How do
they relate to each other? What defines their collectivity?
For some students, the subject / community can even be speculative in character, but it must
be base on an extrapolation of reality.
 2. Space - Redraw & Remash

For this brief, you will be exposed to exemplary buildings that exhibit qualities of open-ness.
Study these buildings by re-drawing them. A series of digital skills workshop will take place
alongside this brief to teach the use of Rhino, AutoCAD and Adobe Illustrator. Each student
will have a set of precise architectural drawings and one interpretive drawing that embody
the main spatial intention of the exemplary projects. The study of exemplary projects will
form part of the seminar series.

Towards the second half of this brief, students will have to re-mash a building with an artist
project to create an entirely different species of space. The output will be a scale-less model
with a footprint of 50cm x 50cm. (No height restriction) The big model should creatively and
critically combine spatial organistion and spatial phenomena to construct a new definition of
openness.

What matters is…

- An understanding of how open-ness is spatial-ised in the building scale
- An understanding of how architects challenge and experiment with boundary and open-
ness
- An understanding of how spatial phenomena can be radicalised to define relationships and
experience.

3. Technology

We will search for emerging technology (structural, environmental, construction, micro

and virtual systems) from the last 10 years that may be hi-jacked to generate new spatial
qualities and organisation. In the past, sophisticated environmental systems, vapour barriers,
warm air curtains, air-conditioning enable vast continuous interiors to be constructed,
what could be the equivalent technology now? Can you speculate what are the architectural
consequences of the technology? What does it reject? Does it reject our need for a door, a
window, furniture?

Pepsi Pavilion. EAT.

Brief 2
Seminar
Output – Seminar Presentation | Group Work

A series of 6 seminars will expose you to a collection of texts in relationship to the core
themes of the ADS: subjectivity, open architecture and aura. Students will have to study the
texts and present them within an architectural context. The study of exemplary project from
brief 2 will form part of the seminar.

Can Lis. Jorn Utzorn.

Studio Trip
Date TBC | Week 7

ADS9 will go on a road trip across Copenhagen and Southern Iceland to experience
landscapes and spatial phenomena, visit architects and artists studios, and examples of co-
living and co-working schemes.

Brief 3
Experimental Models & Representation
Royal College of Art | School of Architecture | ADS9 Extended Brief 2019 - 20

Emerging Subjectivities Research

WEEK 8-11 | Duration - 4 weeks
Output - Big Models & Short Film architectural & Research drawings | Individual work

1) Each student will have to synthesise the knowledge and spatial experiments assembled
through out the term by composing another pure spatial construct. The construct will again
be scale-less with a footprint of 50x50cm. You can experiment with environment, energy,
senses/perception, colours, information, materiality to create a spatial phenomena that can
be directly experienced first hand. We will use films and experiemental drawing to capture
and question how the space can be experienced. A first draft of the film and drawing will be
presented at the end of term crit, with a second final draft developed for the WIP show in
term 2.

How to…
Imagine a beautiful spatial phenomena
Organise sequence of spaces, without determining a narrative
Organise flows, without determining origins and destinations
 Organise nodes, without determining programmes
Organise forms, without determining context

What matters is…

- A clear spatial principle constructed as a scaled model
- Spatial phenomena that can be experienced first hand
- Your ability to speculate highly imaginative and beautiful spaces
- Your definition of “open”

2) Each student will develop a set of drawings to study their chosen emergin subjectivities.
We will focus specifically on
- the space they occupy and construct
- inhabitation and personal relationships
- the economic model to sustain their lives

Term 2 & Term 3

The individual core design project is the main focus across Term 2 and 3. Big format
drawings and models will be our main tools of experimentation. The architectural project
gradually establish intelligent links between the three core question of the brief: Subject/
Community, Space and Technology.

Brief 4
Live project
WEEK 1 | Duration - 1 week
YR1 40 Credits (Part of Studio Project) & YR2 participates also in Live Project
Cell-estial, Flavie Audi.
We begin the new year working with glass artist Flavie Audi. We will experiment with a new
type of aesthetic, techniques and physical materiality of glass based on the big models
completed at the end of term 1. We will spend 2 days at Devereux and Huskie Workshop
outside of Bath.

Royal College of Art | School of Architecture | ADS9 Extended Brief 2019 - 20

Bibliography

Bohme, G. (2013). Oase 91 – Building Atmosphere. Rotterdam: NAI

Bohme, G. (2018). Atmospheric Architectures: The Aesthetics of Felt Spaces

Birnbaum, D. (2008). Hospitality of Presence: Sternberg Press

Jacquet, B. (2012) From the things themselves : architecture and phenomenology

Scuderi, M. P (2014). Philippe Rahm Architectes: Constructed Atmospheres. Milano: Postme-

dia.

Moreno, C (2009). Breathable: Rueda

Hayden, D. (1981). The Grand Domestic Revolution: A History of Feminist Designs For Amer-
ican Homes, Neighborhoods, and Cities: History of Feminist Designs for American Homes,
Neighbourhoods and Cities: The MIT Press

Federici, S. (2018). Re-enchanting the World Feminism and the Politics of the Commons:
Kairos

Stavrides, S. (2016). Common Space: The City as Commons (In Common): Zed Books Ltd

Stavrides, S. (2018). Towards the City of Thresholds: Common Notions

Short Text:
Berardi, F. (2018). Communism is back but we should call it the therapy of singularisation.
[online] Generation-online.org. Available at: http://www.generation-online.org/p/fp_bifo6.htm

Virno, P. (2004). Creating a new public sphere without the State. [online] Generation-online.
org. Available at: http://www.generation-online.org/p/fpvirno8.htm

Moreno, C (2014). Third Natures: AA Publications

Royal College of Art | School of Architecture | ADS9 Extended Brief 2019 - 20
 ADS9 Schedule

Please refer to the MA Architecture Guide Term 1 Week 11 Term 2 Week 10

for full schedule of complementary studies 2.12.19 - 6.12.19 16.3.20 - 20.3.20
courses. 5.12.19 | End of Term Crit Design Project | TS 1:1

Studio tutorials take place on Thursdays and Term 1 Week 12 Term 2 Week 11
Saturdays unless otherwise stated. 9.12.19 - 13.12.19 23.3.20 - 27.3.20
10.12.19 | Live Project Review Design Project | TS 1:1
Term 1 11.12.19 | Media Studies Interim 25.3.20 | Technical Studies Cross Crit
Submission and Informal Review
Term 1 Week 1 12.12.19 | Live Project Review Term 2 Week 12
23.9.19 - 27.9.19 13.12.19 | YR2 Urban Strategy Final 30.3.20 - 3.4.20
26.9.19 | ADS Presentation Submission Design Project | TS 1:1
2.4.20 | End of Term Crit
Term 1 Week 2 Term 2
30.9.19 - 4.10.19 Term 3
1.10.19 | ADS Interview Interviews Term 2 Week 1
Search & Research 13.1.20 - 17.1.20 Term 3 Week 1
13.1.20 | HTS Draft Submission 21.4.20 - 24.5.20
Term 1 Week 3 Live Project 22.4.20 | TS Pin-up Review
7.10.19 - 11.10.19 Portfolio
Search & Research | Seminar Term 2 Week 2
20.1.20 - 24.1.20 Term 3 Week 2
Term 1 Week 4 Design Project 27.4.20 - 1.5.20
14.10.19 - 18.10.19 YR2 Pre-exam Pin up
Search & Research | Seminar Term 2 Week 3
27.1.20 - 31.1.20 Term 3 Week 3
Term 1 Week 5 WIP Show 4.5.20 - 8.5.20
21.10.19 - 25.10.19 Design Project Portfolio
Search & Research | Seminar TS Tutorial Start
Term 3 Week 4
Term 1 Week 6 Term 2 Week 4 11.5.20 - 15.5.20
28.10.19 - 1.11.19 3.2.20 -7.2.20 Portfolio
Search & Research Design Project
Pin up Review on Saturday Term 3 Week 5
Term 2 Week 5 18.5.20 -22.5.20
Term 1 Week 7 10.2.20 - 14.2.20 Portfolio
4.11.19 - 8.11.19 Design Project
Across RCA week Term 3 Week 6
Studio Trip Term 2 Week 6 25.5.20 - 29.5.20
YR1 Interim Exam
Royal College of Art | School of Architecture | ADS9 Extended Brief 2019 - 20

17.2.20 - 21.2.20
Term 1 Week 8 20.2.20 | Mid-term crit
11.11.19 - 15.11.19 Term 3 Week 7
15.11.19 | YR2 Draft Design Strategy Term 2 Week 7 1.6.20 - 5.6.20
Experimental Model & Representation 24.2.20 - 28.2.20 Portfolio
Emerging subjectivities research YR2 Pre-exam Table Reviews
26.2.20 | YR1 Media Studies Submission Term 3 Week 8
Term 1 Week 9 8.6.20 -12.6.20
18.11.19 - 22.11.19 Term 2 Week 8 YR2 Final Exam
Experimental Model & Representation 2.3.20 - 6.2.20 12.6.20 | TS Journal Submission
Emerging subjectivities research Design Project | TS 1:1
Term 3 Week 9
Term 1 Week 10 Term 2 Week 9 15.6.20 - 19.6.20
25.11.19 - 29.11.19 9.3.20 - 13.3.20 19.6.20 | YR1 CHS Final Submission
Experimental Model & Representation YR1 Pre-exam Table Reviews
Emerging subjectivities research 13.3.20 | YR2 Radical Practice Submission Term 3 Week 10
Design Project | TS 1:1 22.6.20 -26.6.20
End-of-the-Year Show