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.
INTERMEDIATE / Term 1
DRAWING IN THE NATION’S CUPBOARDS / Anderson Inge
This course draws on the cultural and visual richness of world-class collections and archives near the AA. Weekly sessions comprise drawing from observation and discussions about seeing and drawing the range of materials, form and space. An independent study provides opportunities to apply techniques to unit work.
PRINTED MATTER / Caroline Rabourdin
Printed Matter is the name of a NY bookshop entirely dedicated to artists’ books, their dissemination and, sometimes, production. During this course you will visit one of the best artists’ books archive in London as well as the illustrious St Bride Foundation, and you will learn about printing techniques and history. The aim of the course is to carefully consider paperspace and experiment with both its format and materiality in the context of a personal project.
‘TERMINAL AA’: FUTURE BORDER CTRL / Nicholas Mortimer & Joseph Popper
This course builds objects and environments at 1:1 scale and uses a hands-on approach to prototyping
ideas. Through the production of design details and staged images, students will deploy critical and speculative design methods to explore near-future scenarios. Emphasis is placed on rapid handmade production, play and iteration.
RENDERING ARCHITECTURE / Matej Hosek
Architectural visualisation has become the mainstream tool for depicting architecture. This course will question the boundaries of the field and explore the overlapping of two opposites – the real and the abstract. The course will utilise Vray for Rhino and Photoshop, to create an image merging the mainstream’s craftsmanship with the sublime style of an individual.
THE ART OF ‘PANNNING’ / Antoine Vaxelaire
From the nineteenth-century flaneur to the twentieth-century voyeur, we have always transformed urban and technological revolutions into key human figures. The Art of Panning provides tools to become the paradigmatic individual of the twenty-first century. This course will dive into the current century so that students may embody yet unknown ideas and absurdities.
SEEING SLOWLY – BLACK AND WHITE ANALOGUE PHOTOGRAPHY / Sue Barr
This course will use analogue photography to investigate typologies of the everyday.
Limited to shooting just one roll of film per week, students will have to think precisely about where to position the camera in order to see beyond the visual noise, disorder or chaotic forms of a given location and discover the inherent potential of their photographic composition.
BODYSCAPE / Mattia Santi & Francesca Silvi
The course introduces students to the computational tools comprising digital fashion design. Focusing on the interpretation of the body’s in-built data, students will begin by learning the fundamentals of Processing before developing more advanced custom codes and generative design strategies. The design process emerges from the use of code-based tools alongside digital platforms such as Maya, Rhino and Grasshopper.
THE HOUSEHOLD GLITCH MOUNTED REGIMENT / Oliviu Lugojan-Ghenciu
The Motion Studio is a time-based media and digital storytelling garage. This eight-week course addresses the field of interaction design to process and design digital environments. Using 3D motion tracking and IoT sensors, real-time render engines and screen based media while choreographing space through yoctoseconds.
ACTIVE MATTER / Shany Barath
This course explores material design as an architectural protagonist and the potential of fabrication
techniques as activators of material systems. Students will experience material in its raw state and gain an understanding of its tactile, structural and innate properties. The studio will function as a material laboratory, shifting from analogue experiments to digital fabrication.
SHAPES OF FICTION / Charles Arsène-Henry
You hold a metacamera in your mind and plug a video game controller onto the spine of a paperback.
Beneath adventures and stories you detect glyphs, operations, transitions and speeds. You draw an
axonometric of a dissolve and give voice-over to diagrams. Phantom rides and interior monologues blur. A general state of literality rises.
DADA-DIGITAL III / David Ole Wolthers & Kasper Ax
Inspired by the dadaist movement, where 3D objects were reinterpreted as purely expressive spatial
artefacts, this course opens up creativity through the use of computational means. We will reinvent everyday objects as architectural components, transforming them into spatially complex constellations through plug-ins and visualisation techniques. The course provides a digital toolbox for digitally fabricating physical models using CNC, 3D printing and laser cutting.
PAINTING ARCHITECTURE / Alex Kaiser
By bridging and exploiting the space between hand-drawn and computer-aided representation, this course remixes an aggregation of drawings at a high-speed, using digital collage, line drawing and rendering techniques. Later in the course, large-scale compositions are constructed to allow investigations of new types of spaces, typologies and landscapes.