AA.MEDIA

Architectural Association
Communication and Media Studies


AA Communication & 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. Communication 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.



CONTACT:

Kate Davies
Head of Media Studies

Oliviu Lugojan-Ghenciu
Lab Coordinator

AA MEDIA
Architectural Association
School of Architecture

36 Bedford Square
London WC1B 3ES

+44 (0)20 7887 4000

STUDIO

FIRST YEAR
CMS-CORE


CMS-First Year Course Introductions
All Term 1 and 2 Seminars & Courses for the 2019-20 academic year will be introduced on Friday 27 Sep at 12.30pm in the First-Year Studio Space. All First Year students are required to attend, as registration procedures and department guidelines will be discussed.

Registration for Term 1 courses will take place from 6.00pm on the same day.
REGISTRATION CLOSES Sat 28 Sep @ 12noon

Students should register online here: https://www.aaschool.ac.uk/MEMBERSHIP/Students/cmsSelection.php

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 First Year students must attend all Seminars. Exercises will be allocated and be sent out automatically following these sessions



TERM 1 SEMINARS:
First-Year Term 1 Seminars take place on Tuesday 1 October and Tuesday 8 October from 2-5pm
All First Year students must attend all Seminars. Exercises will allocated and be sent out automatically following these sessions

The Mark and Space Seminars
1: PLAYTIME // Alison Moffett
The mark as an intervention. The creative accident and mistake
2: OBSERVATIONAL DRAWING // Anderson Inge
Seeing and drawing as a tool of inquiry
3: COLOUR IN SPACE // Antoni Malinowski
Colour as an architectural tool
4: NON EUCLIDIAN GEOMETRY // Rich Cochrane
Order in Space

Precision Drawing Seminars
5: PLAN/SECTION/ELEVATION/AXONOMETRIC/PERSPECTIVE // Miraj Ahmed
Orthogonal Descriptions of Space. Different Viewpoints.
6: TRANSLATING ACROSS DRAWING & SCALE // Shin Egashira
Architectural drawing as a tool of inquiry
7: PROGRAMMING: WORKING & THINKING WITH COMPUTERS // Andrew McGettigan
Instruction Languages
8: ADDING DEPTH // Harry Kay
Manipulation of digital form with Rhino
9: POLYGON MODELLING, SHAPING IDEAS // Sebastian Andia
Form towards function. Designing in 3 dimensions
10: HUNT FOR THE HERO SHOT // Matej Hosek
Rendering an Image



TERM 1 COURSES:
First-Year Term 1 courses take place on Tuesdays from 2-5pm and commence Tues 15 October running for six consecutive weeks (excluding AA Open Week – Week 6). Rooms will be confirmed on Monday 30 September

The Drawn Mistake
Alison Moffet

Based on the idea of a paradox, this course will endeavour to combine opposing visual techniques and explore how one might make interesting or challenging material, technical, and compositional decisions to best illustrate an idea. By looking at examples and trying our own experiments, including using different drawing tools, blind drawing, reconfiguring shapes and collage, and the trace left through action, we will work towards creating critical individual drawings that capture the magic of opposition.

Seeing Your Way to Draw
Anderson Inge

Seeing Your Way to Draw is freehand drawing course with sessions taking place in a series of exquisite national collections near the AA. The course is saturated with refining how we see, draw, and develop a language aimed at improving both. Each session has a distinct theme, covering powerful approaches and techniques in drawing. Sessions begin with a short talk or demonstration, and the bulk of our time will be spent actively working through exercises proven to develop the evocative drawing.

Materiality of Colour
Antoni Malinowski

This course focuses on the potential of subtractive colour in creating/manipulating space. Students are encouraged to create their own distinctive notational system that is sensitive to space, time, light and the characteristics of materials. Students will be introduced to the sensibility and materiality of pure pigments with the focus on colour as matter, teaching how to make paint from pigments and to apply it and test it on different surfaces. In a series of workshops, students will develop a 3D construct based on the analysis of colour and tone in relation to the dynamics of space and light.

Topology and the Shape of Space
Rich Cochrane

This course examines the interplay of topology with geometry from a visual and practical point of view. Although these ideas originate in mathematics, we will use no algebra or calculations. We will seek, instead, to understand them by making things with our hands.

Projection and Speculation
Miraj Ahmed

Architectural drawings are the means by which we can make a series of speculative and exploratory steps that eventually lead to the physical building of propositions. The course will build your knowledge of hand-drawn 2D and 3D orthographic projection and importance of precision as a tool for the imagination, moving from the measured redrawing of an existing building precedent –through a set of plans, sections and axonometric – towards speculation and reinterpretation for a new spatial proposal.

Translation through Drawing
Shin Egashira

With more emphasis on drawing than term 2, the course introduces the conceptual and technical aspects of orthogonal drawings in combination with collage and object making procedures assuming that there is no difference between means of representation and that of design. These lessons will develop in parallel to discussions of seminal architectural writings on a systematic approach to representation. Students must approach drawings with an understanding of intrinsic formal attributes of objects using concepts of formal addition and subtraction.

Building a game world: An introduction to programming & augmented reality
Andrew McGettigan

This course provides an introduction to fundamental computer programming concepts and techniques. We will learn about functions, variables, and conditionals while building fully playable games in Quest, software specially designed for writing interactive fiction and text-based games. We will interrogate space, environment and world by making our own. To implement our ideas we will need to make explicit the things we take for granted. Using images, sound and video students will incorporate their own fieldwork and other practice elements into the game.

Object-Data-Object
Harry Kay

The course encourages students to use 3D modelling as a design tool – a testbed for ideas and a method for communication –using modelling as a form of collaboration. Students will work with Rhino, exploring 3d modelling for its many uses through the life of a project: from the survey of a site or object; towards an interrogation of the acquired data; onto the development of a proposal; and finally, for construction or manufacture.

Functional Object: Design Oriented
Sebastian Andia

We design, we build and we question ourselves why we did it in that way. Functional Object explores the creative processes of design through 3 dimensional drawing and modelling. We build ideas through experimentation in diverse fields. The program starts with a research of “forms” and their immediate functionality. We question their relation to the human body, actions and needs. The course will be focus on the interaction between object and users. The study of this relationship, should bring the creation of a “function object” witch will provide mobility to the user.

Rendering Architecture
Matej Hosek

Architectural visualisation has become a mainstream tool for depicting architecture. This course will be an introduction to the field and will explore overlapping of two opposites - real and abstract. We will utilise Vray for Rhino and Photoshop to create an image merging the mainstream’s craftsmanship with the sublime style of an individual.





TERM 2 SEMINARS:
First-Year Term 2 Seminars take place on Tuesday 7 January and Tuesday 14 January from 2-5pm
All First Year students must attend all Seminars. Exercises will allocated and be sent out automatically following these sessions

Materials and Making Seminars
11: DRAWINGS INTO OBJECTS // Shin Egashira
Translating through making
12: MATERIAL AND THE DETAIL // Inigo Minns
What Materials do
13: FORMWORK AND CASTING// Juliet Haysom
Negative and Positive Fabrication
14: DIGITAL MAKING WITH CNC // Henry Cleaver
Instructions for and making with CNC machines
15: DIGITAL CRAFT // Sebastian Andia
Digital making and Rapid prototyping

Time-Based Media and the Lens Seminars
16: PHOTOGRAPHIC SPACE // Sue Barr
Seeing and photography as a tool of inquiry. Image in the frame
17: IF YOU CAN DREAM IT, YOU CAN DO IT // Joel Newman
Animation and time as a structure
18: SCANNING // Harry Kay
The lens as data generator
19: BLUE MARBLE PATTERN // Jelena Viskovic
Animating Space
20: HANDS ON VR // Paula Strunden
Creating virtual worlds



TERM 2 COURSES:
First-Year Term 2 courses take place on Tuesdays from 2-5pm and commence Tues 21 January running for six consecutive weeks (excluding AA Open Week – Week 5).

Translation of Objects through Drawing
Shin Egashira

With more emphasis on making than Term 1, the course introduces the conceptual and technical aspects of orthogonal drawings in combination with collage and object making procedures assuming that there is no difference between means of representation and that of design. The sessions will begin by taking familiar objects apart followed by drawing sections. Drawings will be further translated by collage making and object assemblage.

Stuff
Inigo Minns

This course explores the fundamental qualities of everyday materials. Taking familiar materials in their raw form through a series of tests, we will transform the cheap into the exquisite. The end result will be a design that flips expected fabrication processes and reconsiders overlooked material qualities, seeing them instead as beautiful and surprising – developing 1:1 details that force new readings and interpretations of often-overlooked substances and products.

Adventures in Casting
Juliet Haysom

This course explores the physical transformation of certain materials over time and the reciprocal relationship between mould and cast form. Working with pigments, aggregates and additives, creating and testing processes such as the jetwash, etch, cut, and polish, students will develop a series of appropriate methods for translating void into form.

CNC For Designers
Henry Cleaver

An introduction to CNC milling and the benefits it can bring to the design process. Students will learn how to problem-solve, plan, set up and run the CNC machine whilst undertaking several small design briefs, with a focus on how this knowledge can inform design from the start. For first-year students who like to make things.

Functional Object: Prototype Oriented
Sebastian Andia

We design, we build and we question ourselves why we did it in that way. Functional Object explores the creative processes of design through making. We build ideas through experimentation in diverse fields.
The program starts with a research of “forms” and their immediate functionality. We question their relation to the human body, actions and needs. The course will be focus on the interaction between object and users. The study of this relationship should bring the creation of a “function object” witch will provide mobility to the user.

Photographic Seeing
Sue Barr

This course is concerned with photographic seeing and image construction within urban landscape photography: the precise translation from what the eye observes into photographic composition within the four corners of the photograph. For the photographer, there is a constant negotiation between what is included or excluded within the frame and this directly affects the aesthetics of the image. Our site will be located on the peripheries of the city, where it is only through committed observation that the photographic compositions can be discovered.

One-minute Animation
Joel Newman

In six sessions the task is to script, produce and animate an original 1 minute video. Those taking the course will be introduced to working with cameras, lighting, composition and animation with a view to creating hybrids, experiments and new videoscapes. Students will view and discuss examples of animated work and the common-ground between narrative and non-narrative forms of image-making.

To The Point
Harry Kay

Photogrammetry gives architects the tools to accurately capture a landscape, urban context or object in three dimensions to be used as a powerful design and communication tool. To the Point starts out by capturing multiple scans of urban objects and streetscapes, and then moves on to cover the skills that allow manipulation of space and time to create alternative places. The end result will be a streetscape of familiar objects in unfamiliar settings.

Cinematic Machines
Jelena Viskovic

Throughout the sessions, we will be looking at experimental ways of using video editing and animation to reveal this ‘invisible’ infrastructure and think about new ways of seeing the world. Autonomous sensing and image-making machines are becoming part of our everyday lives. The digital infrastructure of the world we live in is not visible to us directly, but through the devices we use. It is widely used as part of the sensing mechanisms of satellites, mobile networks and other machine clusters we use on a day-to-day basis. We will use video editing, motion graphics and animation to imagine and visualise how the world looks like to non-human sensory apparatuses.

Drawing the virtual
Paula Strunden

This practical Virtual Reality course will introduce students to the basics of VR drawing, using both analogue and digital techniques. Students will explore intuitive methods to create immersive content, such as 360 spherical panorama hand- drawing, stop-motion and 3D sketching in Virtual Reality with Gravity Sketch and Tilt Brush. All content will be presented and critically evaluated in VR (HTC Vive).





STUDIO STAFF / Bios


COURSE GUIDELINES
CMS1 requirements:
Students are required to attend ALL seminars and complete the submission requirements for EIGHT Seminars (four in the Autumn Term and four in the Winter Term – allocated by CMS). The exercises for the seminars will be allocated and sent to you automatically.

Students are also required to attend and complete 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 CMS1 requirements for entry into their 2nd year of study at the AA.

Students in First Year are required to attend TWENTY SEMINARS and complete the online submission requirements for EIGHT of them (four in Term 1 and four in Term 2). Students must submit an online submission for each of the eight seminars at the end of each term. The exercises for the online submissions will be allocated and sent to you automatically.

Students in First Year are also required to attend and complete the submission requirements for TWO Courses (one in Term 1 and one in Term 2). Students must submit a submission for each course at the end of each term. This will be in the form of a digital submission (PDF) submitted online with your AA login here: https://submissions.aaschool.ac.uk/. In addition, there may be course-specific submission requirements, as directed by your course tutor, which should be submitted to them directly as requested.