Architectural Association
Media Studies

AA MEDIA is an experimental testing ground for exploring and interrogating the tools of the discipline – tools with which we speculate, manipulate and play; compute, control and test; communicate, seduce, and provoke.

Acting as both training camp and laboratory, it is a diverse, multidisciplinary program where unexpected collisions and obsessive attention to detail expose a rich seam of creative potential. Media Studies presents an opportunity to develop individual practice, where students hone their dexterity with established and progressive media, actively testing modes of production through focused acts of doing and making.


Kate Davies
Head of Media Studies
Inigo Minns
Acting Head (maternity cover)

Oliviu Lugojan-Ghenciu
Lab Coordinator

Architectural Association
School of Architecture
36 Bedford Square
London WC1B 3ES

+44 (0)20 7887 4000



MS- Intermediate Course Introductions and Registration

All Term 1 and 2 Courses for the 2018-19 academic year will be introduced on Friday 28 Sep at 4.00pm in the Lecture Hall. All Second Year and Visiting School students are required to attend, as registration procedures and department guidelines will be discussed. Any 3rd, 4th and 5th year students who wish to enrol for Media Studies are also encouraged to attend.

Registration for Term 1 courses will take place from 6.00pm on the same day.

Students should register online here:

Registration for Term 2 Courses will take place at the end of Term 1 and students will be reminded of the process via email


All Intermediate Courses take place on Wednesdays (see course listings for times) and commence Weds 3 Oct running for eight consecutive weeks (excluding AA Open Week – Week 6).
Rooms will be confirmed on Monday 1 Oct

Shapes of Fiction,
Charles Arsène-Henry + Christopher Johnson

In 1897 Stéphane Mallarmé discovered the multiverse in the form of a poem. Equipped with metafictional instruments you will enter and adapt it as if reanimating an abandoned spaceship. Meta: a state of fiction in which operations – tropic movements, scopic shifts, transitions, speeds, etc. – are entities equal to heroic characters.

Seeing slowly – Photographic Typologies,
Sue Barr

This course will use analogue photography to investigate typologies of the everyday; objects and events so ordinary that they escape our notice, but which are revealed through the photographic process. Limited to shooting just 1 roll of film per week, students will have to think precisely about where to position the camera, to see through the visual noise, disorder or chaotic forms present in a location, to discover the inherent potential of their photographic composition.

Alternative Endings,
Eleanor Dodman

Buried deep in the bowels of the AA is its archive, a collection of projects and artefacts, documenting its numerous pasts. Together we will build on this past, starting with a single drawing from an archived project, examining its narrative and cultural context to draw that which remained undrawn. Through a drawing and a large-scale model, you will give the project an alternative ending. 

A Reality,
Raluca Grada-Emandi & Oliviu Lugojan-Ghenciu

Architectural tectonics do not rely any longer on matter but on imagination and narrative as a
structure. The “world building” does not happen only in films and games, but around us, in our pockets, accessible through the successful marriage of an LCD screen and the camera lens on the opposite side of our AR enabled devices. The Motion Studio is the AA’s time-based media and digital storytelling garage. This year the course addresses the medium of augmented reality (AR) in the field of spatial computing.

Choice Paradox,
Marko Gligorov

What is ‘good’ design and why do we like one design more than the other? This course has a goal to explore retail architecture through 3D Modeling & Animation. Its inspiration comes from the limitless possibilities of the human mind and the human potential to set free the predictability of the choices we make in the every day. The course encourages students to use a combination of Maya and Rhino, learning why these tools when used together are the most powerful architectural toolset.

Drawing in the Nation’s Cupboards,
Anderson Inge

The perfect escape from Bedford Square, this freehand drawing course meets each week in a different national collection or archive near the AA. Each session will be full of drawing-from-observation amongst objects and spaces from across history, laced with rich discussions about seeing and drawing. In parallel, an independent study drawing will give the opportunity to apply hand visualisation strategies to emerging unit work.

Painting Architecture,
Alex Kaiser 

By bridging and exploiting the space between the hand-drawn and computer aided representation, this course remixes an aggregation of drawings at high speed, using digital collage, line drawing and modelling techniques. Later in the course, large scale compositions are constructed to allow investigations of new types of spaces, typologies and landscapes. 

Cellar Door,
Inigo Minns

This course explores the fundamental qualities of drawing and image making. Through a series of tests using different media, students spend 8 weeks exploring how we make images and how we can make them better. Starting with architectural drawing formats as well as works from graphic design and fine art, students will develop a series of strategies for bringing more visual intent, beauty and power to their work. Analysing composition, colour, projection, media, and image making techniques, the aim of this course is to develop a unique drawing language suitable for every student project.

Post-Work Imaginaries,
Nicholas Mortimer

This course explores storytelling as a hands-on approach process, producing instructional videos of the future. We will investigate automation and post-work ideologies by prototyping ideas, objects and scenes at 1:1 scale. We will explore how to communicate complex ideas through visual narratives, improvised environments and short vignettes. The course emphasises production, play and iteration – considering critical and speculative design methods for exploring alternative visions of society – students will generate fictive structures using a neural network, generating a series of narrative components to form the architecture of their response to a future employment scenario.

Printed Matter,
Caroline Rabourdin

This course considers the form of the book as a site for architectural exploration. You will visit the Tate Archive and learn from 1960’s artists’ experiments with the medium. You will handle rare books from the AA Archives, early forays into book production by architects recording their architectural Grand Tours. You will be introduced to bookbinding techniques and learn about the materiality of paper. Ultimately, you will produce your own book, experimenting with paperspace, its materiality, format and interaction with the reader.

Mattia Santi and Francesca Silvi

Contemporary spaces extend beyond physical reality through layers of virtual relations. With data interpretation as one of the most contemporary challenges that requires revealing patterns inside complex data, designing with it allows to read and shape the new information driven society. Starting from the fundamentals of programming, the students will develop digital installations in Processing alongside using digital platforms such as Rhino and Grasshopper.

Composite Inhabitations,
Nathan Su

The screen, the photograph, the sheet of paper are all common tools for representing space. But they do so through an act of flattening: a collapsing of time and space into a singular, 2D surface. By unfolding 2D images into 3D worlds, and using Cinema4D’s projection mapping, compositing tools to reverse engineer virtual spaces from footage and photographs, the course explores different modes of representation to challenge this collapse in the 2D. Through film sets, rendered footage and strange conditions that emerge when disparate media are made adjacent, this course analyses and uses the testing sites, placing bridges and windows to other environments and times, merging historical with present; tiny with huge; and near with far.

Thomas Randall Page

This course is a hands-on approach in exploring forces and forms through the medium of fluids and fabrics. We will use a methodology of analogue experimentation and critical analysis to produce artifacts, uncovering finer details, or representing far larger structures. This year we aim to culminate the course with a trip to Hooke Park, collaborating as a group to put what we have learnt into practice at a 1:1 scale.


Works on Paper,
Miraj Ahmed

‘Works on paper’ describes a fine art practice whereby art is made on or with paper, such as drawing, collage, pigment, mixed media. It seems absurd to use the term in architecture since architectural drawings tend to end up on paper. But when applied to the discipline, ‘works on paper’ suggests the idea that such drawings might exist for their own sake. This course explores the architectural drawing and the spaces that lines inhabit on paper and beyond.

Inflected Space,
Anderson Inge and Antoni Malinowski

This course focuses on the perception and experience of space, being central to architectural design. Each session will be a workshop exercising the use of line, tone, colour, texture, shape, and rhythm, exploring the influence of these on how form and space are perceived. We will weave between 2D drawing studies, photography, 3D experiments at full scale, and 4D studies involving movement. Our work will clarify and expand a vocabulary of form/space interactions.

Piece to Camera,
Joel Newman

Over an eight-week period students on this course will look to make an original video with soundtrack. We will discover methods, techniques and principles rooted in narrative and non-narrative film making. This year emphasis is on performing to camera and addressing the relationship between actor and audience. Expect to see examples and discuss works formed from an avant-garde tradition as well as mainstream cinema. We emphasize experimentation in order to challenge hegemony. All components to the final piece must be created/ authored by the student.

Tactile Technologies,
Thomas Parker

The course creates a dialogue between analogue tools used to represent and communicate our surroundings and their technological counterparts in contemporary high precision 3D scanning. Learning from the Inuits of Kalaallit Nunaat (Greenland), who carve driftwood idols to navigate their environment, we too will invent our own analogue registry systems to navigate captured digital space, looking for new ways to catalogue environments that cannot be defined by conventional terms or methodologies.  

Cabinet of Virtual Curiosities,
Paula Strunden

Working with Unity, HTC Vive and Leap Motion this course explores a new sensorial experience of space. Students will create tactile objects that upon being touched, unfold a series of time-based virtual environments. Each session will focus on a different translation process between the analogue and digital. Diverse methods will be explored to create immersive content to be experienced with a VR headset – ranging from Photogrammetry, to Gravity Sketch, 360°drawings and stop-motions, spherical panorama renderings and interactive animations. 

Continued from term 1

Shapes of Fiction, Charles Arsène-Henry + Christopher Johnson
Seeing Slowly: Photographic Typologies, Sue Barr
Choice Paradox, Marko Gligorov
Painting Architecture, Alex Kaiser 
Printed Matter, Caroline Rabourdin
Composite Inhabitations, Nathan Su



MS2 requirements:
Students are required to attend and complete the submission requirements for TWO Courses (one in the Autumn Term and one in the Winter Term). Students must submit a booklet submission for each course at the end of each term, thereby completing their MS2 requirements for entry into their 3rd year of study at the AA.

Note for 3rd Year students and above:
Whilst there are no submission requirements in Media Studies for the Diploma School, 3rd Year students and above are encouraged to attend courses in which they are interested. However, priority will be given to those students who are undertaking the course for submission purposes.