The main objective of this course is to present the students with some of the most modern approaches and definitions in the field of representations and in the world of images. By expressing their thoughts/concerns, developing critical thinking skills and making use of the main tools needed to “read” and “interpret” images, students explore the use of sketches as vehicles carrying ideas, notions and messages. This year, the course is offered under the additional title “Notes on trace concept drawing and tracing”, as it is presented in the form of notebooks and notes taken by students. The aim is to link theory to practice and vice versa in a creative and experiential way. The thematic modules start from a different “place” each time – texts, an installation-experience, sketches, videos, a presentation, discussion, images – through a well prepared, pluralistic approach capable of drawing the participants’ attention and interest, offering motivation, new images, positions and, therefore, insight into the theory and history of architectural representations.
After the end of this course, students will be familiarized with:
· Basic aspects and trends in the contemporary theory of architectural representations.
· Elements of the critique and interpretation of works of art and architecture (imaging).
· The importance of design as a non-verbal language.
· The basic literature and artistic references in the field.
Based on Bloom’s taxonomy, after the end of this course students will have developed the following knowledge, abilities and skills to:
Remember, Understand (interpret), Apply, Analyse, Evaluate and Create based on the students’ expression means, but also based on the knowledge and skills they have acquired. Additionally: Planning – Time management, Emotional involvement, but also Motivating students to make this course part of their life, use it as a getaway and enrich it with their talents.
The course is structured in 10 characteristic modules-aspects of representations:
1. Blind drawing
3. Relationship fields
4. Words& Diagrams
5. At the limits of writing
6. Drawing and image
7. Transformations and explorations of weird
8. Dynamic geographies
More specifically, representations and design are presented more as a common language and less as an academic one or as tool requiring a high level of skills or used as a preparation for other arts. For this purpose, sketches and diagrams, far from stylized classifications, act as communication forms, forms of explorations, but also forms of enacted new narrations.
Students test breaking design with or disconnecting it from an already existing reflection and its true imaging. As part of these explorations, design appears as something autonomous, as a “gesture”, like the expression of a body we often ignore, while at the same time, imaging of the invisible, the intangible, relationships and senses is explored.
As regards design which is inextricably linked to vision in “blind drawing”, “sensory maps”, memory, but also anti-ocularcentric culture, phenomena like “swarms” in images of the digital world of the “society of transparency” are commented upon. “From imitation to participation”, design “from an object to action”, approached as an “out-of-place experience” and a “formative force”, even as an “intention without intention”, representations are not only presented as objects, but also as processes.
Passing from individual to collective writing is another basic element that is explored. Contemporary, mostly digital, representations, being collective design and mapping tools, are unpredictable as to their outcome, and also horizontal and non-hierarchical as to their use. Collective traces as narrations far from the “bird’s eye view” and from controlling and expecting a specific outcome, enable recording, identifying new fields, different ways of design, as well as different ways of commenting and making new interpretations.
Finally, the way digital media in the field of architecture have changed definitively, through parametric design, representations is analysed; the way they are formed, the dynamics of their forms and standards (patterns) and the way various geometrical systems are created which are not close to representation as a final static image.
The educational principles that guide this course:
- Interpretation and critical thinking, using dialectically different texts.
- Equality of all participants to the course.
- Openness, easy and equal access.
- Person-centered teaching, focusing on each student and their personality.
- Exercises, starting from the classroom and aiming at understanding and interpreting.
-Multilevel approach: Project-based learning, Problem-based learning, Performance.
-Combined form of education: digital remote education platform and physical co-existence of teacher and students in the classroom.
-Freedom of expression.
-Assistance, the importance of support throughout the educational process.
At the end of the course, students submit an individual project in the form of a notebook including art creations and 10 short texts about the delivered modules.
Jacques Derrida, Memoirs of the blind: the self-portrait and other ruins, Trad. Pascale-Anne Brault and Michael Naas (USA: The University of Chicago Press, 1993)
Andrew Marvell “Eyes and Tears”
Riva Seguι, J. (1997). Dibujar, Proyectar (I).
Riva, Javier Seguí, Desde dentro, desde fuera y. desde la parte del todo. Εκ των έσω, εκ των έξω και από τα μέρη και το όλο. «DIBUJAR, PROYECTAR (XVIII)», 2008.
Fifty-eight Indices on the Body. Nancy, Jean-Luc. Corpus. Vol. 4. Fordham Univ Press, 2008.
Deleuze Gilles, Foucault trans Sean Hand. Minneapolis: University of Minnesota Press, 1986.
Deleuze, Gilles, and Francis Bacon. Francis Bacon: The logic of sensation. U of Minnesota Press, 2003.
Cy Twombly: Works on Paper in The responsibility of forms, critical essays on music, art and representation. Trans. Richard Horward. Canada: Collins, 1985.
Mesa Sara, Mala letra[κακόγράμμα], Βαρκελώνη, Anagram, 2016
Deleuze, Gilles, and Félix Guattari. Ρίζωμα στο Καπιταλισμός και σχιζοφρένεια, 1. Α αντι-οιδίπους.Πλέθρον, 2016.
Han, Byung-Chul. The scent of time: A philosophical essay on the art of lingering.
1 Eugenio Trías, Tratado de la pasión, (Barcelona: Random House Mondadori, S.A., 2006),
Kosma, Anthi. (2014). Proyectar dibujando: Una aproximaciÃ³n fenomenolÃ³gi-ca del estado naciente del proyecto. Un estudio entre dos culturas arquitectÃ³ni-cas. PhD diss., Arquitectura.
Javier SeguÃ de la Riva, Extrañamiento (28-08-10)
drawing, writing, experience, critical thought