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Spring Term 2019 DESIGN STUDIO - DESIGN IV Professor Adjunct: ALESSANDRA CIANCHETTA Irwin S. Chanin School of Architecture THE COOPER UNION, NYC Global Artscapes: The Mulberry Monument
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Spring Term 2019 DESIGN STUDIO - DESIGN IV Professor Adjunct: ALESSANDRA CIANCHETTA

Irwin S. Chanin School of Architecture

THE COOPER UNION, NYC

Global Artscapes: The Mulberry Monument

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Citations from Goldsmith’s Capital

«“My uncle’s garage, that Frank Lloyd Wright thing on Fifth Avenue,” saidPeggy Guggenheim.» Trager, p. 623 At Area: “The silver bar is where worlds collide. Andy Warhol might bebrushing up against Malcolm Forbes, Keith Haring and Jean-Michel Basquiat against David Byrne or Giorgio Armani, Scavullo and Joan Rivers against Phoebe Cates or Henry Geldzahler. And if no one’s mixing, Stephen Saban, the Boswell of the night, will push them together, later to remind them whathappened in his column in Details.” Kornbluth, “Area,” p. 34

Duchamp calls America a one-class country and marvels that people who can afford chauffeurs go to the theater by subway. Marquis, p. 110

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Global ArtscapesThe Mulberry Monument

Content

AbstractBackground information & site

Teaching Structure : List of Assignments and Deliverables

Assignment #1.1 Benchmark (Sources)Assignment # 1.2 Video/Interviews & QuestionnaireAssignment # 1.3 Time Lapse Recording on siteAssignment #2.1 Windshield Tour: Framing, (more) Recording and Describing the ContextAssignment #2.2 (Addendum) Future Windshield Tour: Future ScriptsAssignment # 2.3 Benchmark Atlas (Critical Re-draw):Assignment #3 Projection The Mulberry MonumentAssignment #4 Project Film (Synthesis)

Editorial Guidelines Learning OutcomesStudio Etiquette

Selected Readings & media links

Professor’s details

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Global Artscapes - The Mulberry Monument

Abstraction, Advertising, Signage, Trade, Alcohol, Drugs, Amnesia, Rootlessness, SciFi, Apocalypse, Architecture, Hygiene, Pleasure, Bohemia, Bridge, Building as City, Capital of the 20th, Century, Celebrity, Chronicle, Mundane, City as Sentence, Class, Unrest, Politics, Crowds, Congestion, Traffic, Density, Speed, Danger, Seedy, Crime, Death, Decay, Obsolesence, Downfall, Depopulated, Displacement, Détournement, Dream, Sleep, Night, Unreal, City, Fame, Ambition, Excitement, Restlessness, Fashion, Flaneur, Idleness, Boredom, Perambulation, Food, Garbage, Dirt, Trash, Waste, Gentrification, Global, World City, Grid, Map, Image, Interior, Invisible, Unreal, Gambling, Ghost Labor, Work, Language, Speech, Light, Logic, Reason,

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Loneliness, Singularity, Luxury, Money, Stk Exch, Economics, Wealth, Market, Movement, Mobility, Museum, Spa, Myth, Names, Ethnicity, Nature, Neighborhood, Structure, Palimpsest, Paris, Old World, New World, Poverty, Squalor, Abuse, Power, Narcissism, Progress (Theory of), Psychogeography, Purity, Real Estate, Religion, Scale, Magnitude, Sex, Romance Shopping, Mall, Consumerism, Signage, Semiotic, Symbolic, Simulacra, Skyline (Panorama), Smell, Soho, Prostitution, Sound, Noise, Spectacle, Music, Speed, Nervousness, Iron, Fire, Streets, Street Names, Suburbs, Surreal, Technology, Underground,

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Abstract Following Project Capital(s), a series of design & research led studios undertaken in collaboration with diverse institutions & locations (New York, Paris, London, and Vienna) - the studio explores the multi-faceted assemblage that shapes every neighborhood in every great modern city, the interrelation between urban dimensions, the scale of architectural elements and the role of contemporary art in questioning their radical transformations in the context of fast-paced globalization. It draws on Walter Benjamin’s assemblage technique, a collage collection of scattered observations of urban life and its transformations, aiming at recording and letting connections occur in an experimental fashion.

Real estate pressure, displacement, and technologies have radically modified the relationships between individuals, social groups and the physical space they inhabit. Under the current fast-changing conditions, the question is how architecture and urban design may or may not deliver new places and spaces transcending the logic of commodification and pressing market forces. This research-and design-based course draws on design methods to perform in cross-cultural design practice. We will examine inspirations as diverse as Walter Benjamin, Rosalind Krauss, Bruno Latour, and Kenneth Goldsmith. Students will explore the tension between particularism and globalization through architecture, art, literature, and culture at large. On the one hand, the internet, technologies, and luxury items are identical all over the world. The first part of the studio is devoted to research and the production of benchmark research, video recording, interviews, and analytical research and mapping. In the second part, students will pick a specific site in Manhattan’s Downtown to develop a proposal for a hybrid typology as well as extensive fieldwork in Little Italy sector, lower Manhattan in a joint project with Vienna based artist Sonia Leimer.* Leimer is currently working on the artwork, Via San Gennaro, set on such location. The project will be featured in a solo exhibition in ISCP’s second-floor gallery in late 2019 It will be curated by Kari Conte (ISCP Director of Programs and Exhibitions) and accompanied by a publication. The studio will this take the opportunity to link urban and architectural research to a real, ongoing art project and take part in it. Excerpts of such productions might be included in the forthcoming solo exhibition at ISCP. (The Cooper Union and all students involved will be fully credited in relevant supports). As a case study, we will analyze the densely populated area of Little Italy, a historic neighborhood at the crossroads between tradition and gentrification.

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This design & research-led studio will result in :- research booklets based on keywords assigned individually to each student;- a video shot on location and a series of drawings analyzing the current situation/urban, cultural fabric, plottings and scripting four - different scenarios of transformation for the future (2019-2029-2039-2059);- thematic cartography;- a design proposal for a hybrid typology mi-chemin Monument, Folly and Museum to commemorate the relentless transformations of the City;

Are trade and commodification inherent of all urban fabrics? Can new typologies of public space and (public) architecture be invented? What are today’s interrelations between the economic activities that take place in such places (global/local) and the nature of the space and space at large that results from it? What new practices may they sustain and provoke? What new typologies? What is the role of architecture in the “experience economy”? Students are asked to comparatively test multi-disciplinary and multi-format design approaches through diverse media and a wide, unconventional variety of sources (mapping, film, drawings, models). During the research phase, students will be inspired by similar assemblage techniques to produce original short films and manifestos containing drawings, novel excerpts, memoirs, song lyrics, newspapers articles, laws, official documents, health and safety regulations and much more.

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Global Artscapes - The Mulberry Monument

Leimer - San Gennaro - Little Italy

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Global Artscapes - The Mulberry Monument

Background informationLittle Italy is an inexhaustive case study for issues regarding migration - both old and new -, cultural diversity at large, territories, city branding, lifestyles seen as commodity generational changes, the relentless forces of real estate, the unarresting gentrification and the transformation of global cities in times of late capitalism. Once home to thousands of Italians and Italian-Americans, Little Italy has now shrunk from the epicenter of Italian-American life in NYC to a smattering of touristic restaurants and shops. The changing territory of its neighbor Chinatown and the increasing rents in the neighborhood has resulted in an exodus of many long-time residents. In 1950, 50 percent of Little Italy residents identified as Italian-American. According to the 2000 census, the Italian- American population has diminished to just 6 percent. Little Italy nowadays exists mostly as a nostalgic memory. Despite the transformation, every September Little Italy celebrates the feast of San Gennaro and reactivates almost-lost traditions. During this time, Mulberry Street changes its name to Via San Gennaro and showcases performances of Sicilian puppet playing, Opera dei Pupi, a popular form of entertainment in XVth cent Europe involving local history and folklore. With each subsequent conqueror of Sicily, a new group of people incorporated their own traditions into Opera dei Pupi. Nearly a century ago, homesick Italian immigrants flocked to small theaters in Little Italy for such operatic renditions of medieval tales. Back then, every Italian neighborhood had marionettes and a theater. The Manteo family ran nightly performances in the Manteo Marionette Storefront Theater on Mulberry Street in Little Italy until it closed in 1939. More recent generations of Manteos revived the shows in the 1970s and 1980s using a movable theater. The tradition has continued in Sicily, but not in New York City where it came to an end with the last show of the Manteos in the late 1980s. They donated five of the original puppets to the Italian American Museum in Little Italy where they are always on display except on the day of San Gennaro when 70-year-old Tony de Nonno performs them on the streets of Little Italy.

The sites (along Mulberry Street and beyond) must be explored and understood in their contemporaneity and complexity and not exclusively through historical or typological analysis. Each of these places has developed and prospered due to a unique relationship between its culture and its urban fabric. At the same time, it is an exemplar set of global conditions affecting the built environment today anywhere in the world, from gentrification to specialization (fashion and the luxury industries, the arts, food and the entertainment industries) to a development of monocultures of tourism and leisure-related services.

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Rachel Whiteread - detail, photo Cianchetta

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DS024 research London

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Project. Leimer will make a video in collaboration with Tony de Nonno, in which he will perform the puppets in the streets and sidewalks of Little Italy. Leimer will search for specific locations and write a script based on her research that will be performed by the five different characters that are represented by the puppets. The text will be composed of different stories that describe the current situation of Little Italy in the context of New York’s development as a city and possible future(s) for it. With Cianchetta, Leimer will investigate future urban development for the area which will provide ideas for the script. Recent political and urban topics will highlight a place that is about to disappear for traceable reasons. By using the puppets, it will be possible to reactivate an old form of storytelling to narrate actual topics that are directly connected to the city’s history and present. The puppets—just like Little Italy itself— have become historicized. This parallelism will be used to create a storyline in which the puppets speak both about themselves and the area at the same time. As in previous works ofLeimer’s, the text will be written in a fragmented, non-linear way. The shots will focus on the puppets and Tonny de Nonno’s hands while he is playing them so that small details are highlighted and the viewer constructs the bigger picture during the duration of the video. The second part of the installation is connected to street life in Little Italy, the location of the video. It will consist of different sculptures inspired by street objects Leimer finds in the neighborhood, which will function as “Segna posto” (placeholders) for gentrification. These highly adaptable and flexible configurations will be fragments of Little Italy isolated in an abstract context; they will represent pauses, actions, and construction sites—markers of geographic transformation and will be displayed alongside the video, in effect a gesamtkunstwerk. Manufactured as assemblages of urban remnants, such as asphalt, metal, and plastic, the works will note an interruption in the spatial continuum of the metropolis and will enliven the video aspect of the installation. They will allude to spaces that are occupied for the moment, but not accessible. The placeholder defines a territory, occupies it, and at the same time keeps it free.These objects will function on a collective unconscious level that points to everyday use of Little Italy’s streets. Like a chessboard of urban phenomena of power and control, they set the stage to reflect on urban space and its changes, as well as its purpose as a place of emotional investment, of possible political militancy, and of flânerie. The objects that will result from this research will represent the different cultural backgrounds—Italian, Chinese, etc.—that come together in Little Italy. (source: Leimer, partially edited by Cianchetta)

About the Artist’s projectBiography. In her installations, Sonia Leimer explores our perceptual foundations, which are formed on the basis of individual, historical, and media-related patterns of experience. As products of concrete historical contexts, rooms and objects undergo a transformation in which history and societal changes become palpable. Sonia Leimer lives and works in Vienna. She studied architecture at the Technical University of Vienna and the Academy of Fine Art Vienna. From 2007 to 2012, she hosted a radio titled City and the Image. She taught at the Academy for Art and Photography together with Martin Guttmann from 2012–2016. Leimer exhibited her work internationally at Leopold Museum, Vienna; Galerie nächst St. Stephan, Vienna; Ludwig Forum für Internationale Kunst, Aachen; Barbara Gross Galerie, Munich; Los Angeles Museum of Art; 5th Moscow Biennial; artothek, Cologne; Museion – Museum of Modern and Contemporary Art of Bozen, Italy; MAK Center for Art and Architecture, Los Angeles; Kunstverein Basis, Frankfurt; BAWAG Contemporary,Vienna; Salzburger Kunstverein; and Manifesta 7, Rovereto. (source ISCP).

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Assignment #1.1 Benchmark (Sources)

During the Benchmark assignment each student will be assigned a series of 2 keywords, carry out a desk research (online sources and library) and find for each key-word/theme particularly related to Mulberry Street (and more at large Little Italy and Chinatown : their history, their transformation over the last decades as well as prospective scenarios for the future. Both key-words are related to the site/s of study.

The Expanded Field (see Rosalind Krauss’ essay “Sculpture in the Expanded Field”)• Site Construction• Landscape (cartography and photography)• Urban Landscape (cartography and photography)• Architecture (museum or gallery)• Architecture (other than museum typology)• Marked Sites (landmarks)• Axiomatic Structures• Not Landscape• Not Architecture• SculptureWider Cultural References:Newspaper entry (research at the New York Public Library); • Novel, or essay excerpt;• Art criticism or theory excerpt;• Painting, artwork;• Performance, artwork;Historic photo;Historic video footage, historic documentary (research at the New York Public Library and elsewhere);• Film, artwork;• Movie scene;• Portrait;• Patent or copyrighted design; (*) see for instance: http://patents.google.com/• Law, regulation or bylaw;Statistic;Questionnaire (interview local residents & businesses, viisitors etc) *• Selected Bibliography;

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the objective is to produce a booklet for each word, all words should be “covered” with no overlapping or repetition (students to pick different words). Please find as many relevant sources as you can possibly find. Use the supplied IDML template to place each source on A5 paper with the correct caption using the Chicago Manual of Style referencing). You do not have to rework the material itself. When presenting the work, print, and pin-up all work as a group in an orderly manner. That is: organize your sources as a matrix on a wall divided in key-words. The goal of the first assignment is to get to know the stakes and key topics. The sources gathered will form the raw ingredients for the further development of the research, much like the technique of assembling Walter Benjamin experimented with convolutes in The Arcades Project and in Kenneth Goldsmith’s Capital. EXAMPLE OF KEYWORDS AS FOLLOWS:

category 1) Abstraction, Advertising, Trade,Celebrity, Class, Density, Displacement, Fashion, Flaneur, Gentrification, Global, Nostalgia, Money, Names, Ethnicity, Neighborhood, Palimpsest, Psychogeography, Real Estate, Sex, Shopping, Mall, Consumerism, Seedy Signage, Simulacra, Smell, Sound, Speed, Noise, Names, Water, Plumbing;

category 2) ART PARTY; ARTIST ESTATES; ARTIST STUDIOS ; AUCTIONS ; BUYER; CENSORSHIP ; COLLECTING ; COMMUNITY ENGAGEMENT ; CRITIC; CULTURAL APPROPRIATION; CULTURAL HERITAGE; CURATOR; EMERGING ART ; FLIPPING; FOUNDATION; GALLERY; HERITAGE; ICON ; ICONOCLASM ; INSTITUTIONAL NETWORKS ; LANDMARK; LEGACY; MARKING TIME ; MONEY LAUNDERING; MONUMENT ; MUSEUM; NEW RITES ; NON-COMMERCIAL EXHIBITION; OFFICIAL ART ; OUTSIDER ART ; PATRONS; PERFORMANCE ART; POST INTERNET ART ; PRIVATE COLLECTION; PRIVATE EVENTS ; PROTEST ART ; PUBLIC ART; RESIDENCY; RE-USE; SELLER; SPECIAL PROJECT; STATE FUNDED ART; STYLE AND CONTENT ; TEMPORARY USE; TRADING ART; UNUSUAL SITE; VERNISSAGE/ OPENING; VIOLENCE AND BEAUTY ; WHITE WALLS;

Deliverables2 bound booklets for each student, one word for each category (both related to the same site). A template will be placed into a dedicated google drive) format PDF and printed hardcopy (bound, with cover).

DeadlinesPreview/Pin-up : January 17th Final delivery : January 24th (upload into the googledrive by 7pm on Jan 23rd)

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Assignment # 1.2 Video/Interviews & Questionnaire

During week #2 (22-23-24.01) each student will draft a series of questions (minimum 3) to be asked to a sample of local residents, local businesses and shop-owners as well as casual visitors and tourists along Mulberry Street and nearby areas.Questions should specifically relate to the perceived transformations - past and present and expected future of the neighborhood, and of the street in particular as well as its multi-layered history. Questions should be precise and concise. Interview a minimum of 5 people asking each at least 3 questions.Please record (both audio and video) and film - when possible - all the interviews and mention the full name and occupation of the interviewed person. A transcription will be included in the booklets. Video excerpts may be included in the final films and exhibition. Use the key-words chosen in the first assignment as the leit-motif for your interview.Important Note: Take a portrait of the interviewed people, with their consent, with the backdrop of a specific building or streetscape of their choice. Such a choice should be somehow related to the story and to the key-words. Portraits’ format: A2 vertical or horizontal, printed on photographic paper.

Deliverables Portraits’ format : A2 vertical or horizontal, printed on photographic paper.Video Interviews, edited (max 3 minutes each)Written Transcription (Format Legal, Font: National - see editorial guidelines

DeadlinesJanuary 22ndUpload into the google-drive by Jan 22nd 7 pm.

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Rachel Whiteread - detail, photo Cianchetta

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Rachel Whiteread - detail, photo Cianchetta

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Assignment # 1.3 Time Lapse Recording on site

During week #2 (22-23-24.01) each student will video-record a chosen corner, a specific section, streetscape sequence, or building in Mulberry Street and other key locations of their choice in Little Italy and China Town. The chosen locations for video recording will be noted in a collective “Nolli” plan (Schwartz Plan) of the area. They should be all different, in order to cover as much as possible of the area with no repetitions. You may need to use a camera plus a tripod. Shoot a time-lapse taking a picture every 5 seconds for at least one hour at different times of the day and night. E.g. 6 am-8am /11am-2pm/6pm-8pm/ 1am-3am. The result will be assembled in a time-lapse film. You may also assemble a specific sequence or streetscape by shooting an image at the same height and with the same frame every meter for 500 meters.

Deliverables. an edited time-lapse video recording plus a printed collective “Nolli” map (format square 80 cm x 80 cm approx.) indicating the locations with a detailed legend.Printed sequences (A2, or A1)

DeadlinesJanuary 24thUpload into the google-drive by Jan 24th 7 pmFinal Edited version Febriuary 20th

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Assignment #2.1 Windshield Tour: Framing, (more) Recording and Describing the Context

During this assignment (to be carried out on week #3 29-30-31.01) each student will choose a building in Mulberry Street and in other key locations of their choice around Little Italy and China Town. The building may be located in the street sections and sequences formerly recorded in time lapses during the previous assignments or else be in a different, complementary location. As in the time lapse assignment, the chosen sites should all be complementary, in order to cover as much as possible of the area and they should be noted in a collective “Nolli” plan (Schwartz Plan) of the area and relative locations.Each student will choose two carefully staged views of the building, one internal and one external. Give particular relevance and attention to the groundfloors and their permeability (e.g. shop frontages, cafés and restaurants, and other active frontages) give attention to every single detail architectural and otherwise, observe the slightest details at 1:1 scale.A good quality color photograph, taken with a wide angle lens is highly advisable but not indispensable, and post-production in Photoshop will be necessary.The term windshield tour comes from field trips by urban researchers, who visit a place and use the framing of the car or coach windows to produce a detailed inventory of all they can see within the artificial viewing frame of the car or coach. This forces the observer to look at everything, all the components, and not to simply describe the elements that the observer is more familiar with. This technique often forces us to view and describe things we take for granted, but we don’t see, and that form part of our urban or suburban landscape.Once these two photographs have been selected each student will produce a series of silhouettes of the photograph, in the manner of the painting by numbers coloring books. Each image of the painting by numbers image (internal and external) will be drawn in a vector format (CAD or Illustrator) with different areas separated and clearly numbered.To accompany this silhouette drawing of the context, each student will produce a list of the critical significant elements of the building and its context, ensuring that no area of the photograph is left without a meaningful description. Each description should be similar in length, thus avoiding a long description of the gallery building and a passing description of a nearby bus stop, for example. This list cannot simply be an enumeration of elements, such as “sky, shopfront, or ceiling” but will be done in the manner of French writer Georges Perec (La vie, mode d’emploi).

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1. The External Photograph. Reference : Andreas Gursky, Salerno, 1990. The Doris and Donald Fisher Collection at the San Francisco Museum of Modern ArtIn the style of Andreas Gursky. In this external photograph, the perspective of vertical lines should be corrected so that vertical lines in the landscape appear parallel when printed. The photograph needs to cover the building and its significant surroundings, and be a high-resolution image, ideally taken with a grey sky so that every detail can be seen. You will frame the photograph in such a way that the building can be understood in its context.2. The Internal Photograph. Reference : Candida Höfer; Eremitage St. Petersburg, 1992; C-Print, 36 x 52 cm; Städel Museum, Frankfurt am Main, DZ BANK Kunstsammlung im Städel Museum; Foto: Städel Museum – ARTOTHEK; © VG Bild-Kunst BonnIn the style of Candida Hofer. You will capture as many elements of the building and its relationship with the changing nature of the site. Is there an old shop, a nail bar or a “gentrified” coffee shop, art gallery or concept store? How does the light get in, is there a guard, do they have an i.d., a seat?3. Drawing by Numbers. In doing the painting by numbers vector drawing, as yourself what are the differences in the things you see: the age, type of ownership, inhabitants, social conditions or tensions, public vs. private, basic infrastructure vs. follies, etc. The act of dividing the photograph into the regions should require a critical view and a narrative from you as the viewer.4. The Descriptions. With a numerical reference to the areas defined in the drawing by numbers silhouette. The description for the external image and the internal view should be about one side of A4 for each, in Arial font size 11. It should make a clear stylistic reference to Perec’s writing, and most importantly, shed some light as to what it is that we are viewing.5. List of Venues/Buildings. To be chosen by students and discussed with Tutor.6. References:Photography See Andres Gursky and Candida Hoffer, as well as Thomas Struth and Thomas Demand’s approach to photographing architecture. The sequence of buildings could be shown as a sequence in the style of Bernd and Hilla Becher.Line Drawings See the graphic quality of drawings by Patrick Caulfield or Julian Opie.Descriptions See George Perec’s works: An attempt at exhausting a Place in Paris (1975), Life, A User’s Manual (1978) and “A Gallery Portrait” (in French “Un Cabinet d’Amateur”, 1979). See Peter Greenaway, Film: “Drowning by Numbers” 1988.

Deliverables. Each image, the external and the internal photograph, will be presented in a matching format to the redraw exercise (atlas), with the external sequence aligned vertically: Photograph, Drawing by Numbers, Exhaustive Description. Agree on the format collectively.

Deadlines: Jan 31stUpload into the google-drive by Jan 31st 7 pm

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Assignment #2.2 Future Windshield Tour: Future Scripts

Following the previous exercise and your selected venue or sequence, during week 4 (Feb 5-6-7) you will think of what an insertion in this recorded internal and external landscape can do to affect and become an agent of change in the context of the rapid transformation of the area. You will think of possible scenarios of transformation, place yourself in a near future or in a further future (2029-2039-2049-2059 etc.) and imagine the transformation, both in the physical urban fabric - buildings and streetscape and in the spatial uses and programs including accessibility, mobility, tensions in between private and public, circulations etc (in other words both material and immaterial transformations).

This addendum, this collage, and intervention must come as an agent of change. Just as the observer of nature is altering nature – perhaps unwittingly – your intervention can acknowledge the agent of change, the opportunities for resolution of conflict, or for the manifestation of this situation of change both in a near future or in further one. You will now be asked to introduce in the form of a collage an element into either the external or the internal photograph (or both, if relevant), as an agent of change. The photographic collage in your original photograph will be echoed by an added silhouette (you will have built a 3d model, Rhino or otherwise, individually or collectively, of your projected spatial sequence, which you may manipulate and insert in the painting by numbers image, and a paragraph in the description of the image. This agent of change, or of catharsis or contrast will ideally be one of the keywords produced collectively in the colored booklets. (assignment 1). As the act of tracing the silhouettes in the photographs, and then describing the elements is meant to engage us with the object we are looking at, you may consider doing the collage or insertion as a physical insertion into the photo, rather than a Photoshop collage.

References Blade Runner (Ridley Scott)Mies Van Der Rohe’s collage drawings, in particular the drawing for the Friedrichstrasse Skyscraper ProjectThe continuous monument (Superstudio)Dogma’s drawings (Pier Vittorio Aureli, Martino Tattara)The map is the territory, by Bernhard Siegert: http://code2012.wdfiles.com/local--files/master-classes/MC%20Jussi%20readings%20rp169_article3_mapistheterritory_siegert.pdf See Angel Rama’s first chapter of his book on the city and letters “The Ordered City”: https://monoskop.org/images/2/26/Rama_Angel_The_Lettered_City.pdf

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Artist References Rachel Whiteread (British, born 1963)• Guillermo Kuitca (Argentine, born 1961) http://www.artnet.com/artists/guillermo-kuitca/ • Layla Curtis (British, born 1975) https://www.tate.org.uk/art/artists/layla-curtis-2736 • Alighiero Boetti (Italian, 16 December 1940 – 24 February 1994) Paula Scher (born October 6, 1948, Washington D.C)

Deliverables The deliverables will be, an additional 3 or 6 images, possibly in close-frame and rich in detail echoing the initial images produced for the Windshield Tour. Think of other methods for printing photographs, such as photographic prints, rather than inkjet printing. A collective format for such images has to be agreed among students. Each image represents a future scenario, described by a short “manifesto” text (300 words max for each script).

DeadlinesFirst, preliminary version February 7th Upload into the google-drive by Feb 7th 7 pm.Updated version, March 6thUpload into the google-drive by March 6th 7 pm.Printed and Video-presentation (7 min each)

General Re-cap Pin up for ALL assignments produced so far(interim Reviews)Feb 7th and March 6th

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Global Artscapes - The Mulberry Monument

Rachel Whiteread - Holocaust memorial

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Global Artscapes - The Mulberry Monument

Assignment # 2.3 Benchmark Atlas (Critical Re-draw):

As we progress in a perceptual and subjective study of the site as it is and how it might evolve, mapping almost forensically every detail of it - we will start to incorporate during week #5 (02.12-13-14) the elements that will bring you to a final design component: a Monument for Mulberry, a new typology mi-chemin: folly, museum building for a single artwork, landmark or observatory or artwork per se. The research described below will constitute a blueprint of typological precedents you may draw inspiration for your designs from as well a collective atlas.You will work individually and look at a series of remarkable precedents projects among those in the list below. Each of you will pick a different project and collect its original drawings (site plan, plans, sections, elevations etc), a minimum of 5 high-definition images (please specify the name of the photographer, each image an A4 landscape full page) a concise data sheet (name of project, typology, location, client, date of project, date of construction/completion, client, architect(s) or artist(s), 350 words of description, and a concise bibliography. The re-draw will include the following elements

PROJECTS LIST (non-exhaustive) one project minimum for each studentRachel Whiteread’s Vienna holocaust memorial; Rachel Whiteread’s Ghost House; Richard Serra’s Titled Arc; Rothko Chapel-Houston; Sanaa’s New Museum; Sam Jacob’s Loos Tomb rebuilt and blind spot studies (among others); MAGA’s Prototypes (Trump’s wall); Spomenik project (the monumental history of Yugoslavia); Holy Kaaba in Mecca (black box); John Hejduk’s Jan Palach Memorial - The House of the Suicide, The House of the Mother; John Hejduk with Antonio Sanmartìn, Elena Cànovas Mendez e Leonardo Rietti, Torres Hejduk, Santiago de Compostela; Aldo Rossi, Monument to the Resistance, Cuneo; Giuseppe Terragni, Paolo Rosselli, Monument for Roberto Sarfatti; F.L. Wright’s Guggenheim Museum; Caruso St John’s Brick House; Gordon Matta Clark’s Open House (and other projects); AWP-HHF’s observatory in Poissy; Herzog & De Meuron Central Signal Box; Herzog & De Meuron, Jinhua Architecture Park folly; Francois-Joseph Belanger, Folie St James; Peter Smithson’s Obelisk for Shatwell; Alexsander Brodski (various projects); Andrea Branzi (various projects);Rosa Luxenburg Platz Berlin, Clegg and Guttmann, Adolf Loos’s Dvořák mausoleum etc.

Deliverables - B/W building plan and/or site plan - 1/500 (1/1000 for site plans) - B/W profile section, including building - 1/500 (1/20 for detail sections ) Building diagrammatic axonometric (B/W, wire-frame) including its public space and/or landscape - one close up scale for single buildings or architectural elements and another one for landscape projects; Same diagrammatic axonometric,

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Deliverables - B/W building plan and/or site plan - 1/500 (1/1000 for site plans) - B/W profile section, including building - 1/500 (1/20 for detail sections ) Building diagrammatic axonometric (B/W, wire-frame) including its public space and/or landscape - one close up scale for single buildings or architectural elements and another one for landscape projects; Same diagrammatic axonometric, plan and section as below highlighting a critical element (what is the key/core element of the project ? its most essential principle, how does it work and why is it good or relevant? this could be related to light, circulations, connectivity, particularly relevant spatial qualities, “representation” (e.g. an icon) etc.) and any other relevant aspect. Consider relevant keywords of your choice developed in assignment #1 when analyzing your project. Highlight one or several relevant keywords and use it in the title. A template will be circulated.

DeadlinesFebruary 13th Upload into the google-drive by Feb13th 7 pm.Printed Pin Up and video presentation on Feb 14th and Feb 20thSynthesis presentation of all assignments 1.1 to 2.3 integrating editing and observations on Feb 20 th re-upload of latest edited version into the google-drive by Feb 19th 7 pm

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Assignment #3 Projection The Mulberry Monument

After 4-5 weeks of fast-paced (creative) research, on week#6 we will start working on the final design component whose 1:33 models and detailed elements at other scales might be included (fully credited) in artist Sonia Leimer’s exhibition at the ISCP (https://iscp-nyc.org), in late 2019.Individually, or in groups, you will choose a precise site along Mulberry Street (Via San Gennaro).The choice of a site may be linked - or not - to your initial research and relative urban sequence (Time-Lapse and Windshield exercise). In the absence of an empty, available plot of land you may imagine demolishing an existing building to obtain an empty side or to re-use, graft-on, extend and - quite dramatically or more subtly - modify an existing building. Both options are possible but should be critically informed and explained.The program is a “Monument” for Mulberry Street/Via San Gennaro. The “Monument” is a building, a structure or a landmark to “commemorate”, observe and express the relentless changes that every global city undergoes. It incorporates the melancholy for a past lost and gone, present pressures and conflicts generated by real estate demands, the excitement and the anxiety for a future yet undefined. The “Monument” is a landmark and a device to observe the city, a tower, a watch over. It should be a new typology, with an uncertain status: building, artwork or both? It can and should - paradoxically enough - have a function, other than being a mere landmark or “object for commemoration” - a space to showcase a single artwork, a writer’s urban retreat, a museum of nothingness.Mi-Chemin folly, museum building for a single artwork or for the city itself, landmark, observatory or empty structure, giving mass to intangibility. The “Monument” is a tribute to all the Convolutes in Benjamin’s Arcades Project or indeed to the ones in Goldsmith’s Capital whose writings should be used as tools for the project (not in any literal sense, but for their assemblage technique).

As a starting point for the project, we propose a reflection on British artist Rachel Whiteread’s breakthrough work, Ghost.

“Whiteread’s breakthrough came with Ghost (1990), an assured realization of a deceptively straightforward idea. She cast the interior of a back room in a late-Victorian house slated for demolition. Nicotine stains and soot from the fireplace expressed the chemical history of the living space even as they tinted the sculpture’s plaster components. The result was bold but quiet, generously evocative, and clever in all the best ways. It earned Whiteread a nomination for the Turner Prize in 1991. Ghost, like many of Whiteread’s early sculptures, relies on a crucial uncertainty or ambiguity regarding the definition of a given object. In particular, that ambiguity arises because of the way her sculptures challenge the natural flow of memory. When commentary on her work talks about memory, it usually explores aspects of the past such as history, nostalgia, remembrance, or commemoration. Those

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interpretations focus on what neuroscientists call explicit memory, which has two aspects: semantic memory, or the capacity for conscious recollection of common knowledge; and episodic memory, which preserves personal experiences. Implicit memories, which allow us to accomplish tasks without consciously thinking about them, are seldom discussed. Implicit memories allow us to type or write, drive a car, or deal with familiar objects. The unfamiliar familiarity of Whiteread’s sculptures often jolts such memories into our consciousness “. (Source https://gagosian.com/quarterly/2017/11/03/solid-recollections-rachel-whiteread/)

As we progress in the process and project, more references and a set of additional assignments to will be distributed to students and the definitive set of deliverables established

Anticipated Final Deliverables 2 Schwartz Plans (“Nolli Map”) locating the intervention 1:2000 and 1:5003D B/W wireframe bird eye-view of the site within its larger urban contextA “manifesto” text of 300 words synthesising the conceptA set of diagrams illustrating the project strategy & conceptA series of thematic maps (1:5000 to 1:1000) analysing the urban context (including accessibility, circulations, relationship with surrounding urban fabric and public realm, private/public; empty/built; programs and land-use; existing typologies etc.)Urban Profiles 1:5003D model: spatial filmSet of plans (1:50 or 1:33)Transversal and longitudinal sections (1:50 or 1:33)Elevations (1:50 or 1:33)Set of study models (anticipated materials (alternatively) - plaster on steel frames, concrete, wax, felt) Final Model 1:33 (material to be further defined)Note : All drawings are B/W. Final, collective format of posters to be agreed

DeadlinesPreliminary February 28th - pin up and video presentation (7 min)Intermediate March 6th - pin up and video presentation (7 min)pre-Final April 23rd - pin up and video presentation (7 min)

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Assignment #4 Project Film This assignment is a collective synthesis

You will work collectively to produce two short (3.5 min approx 5 min max) documentary films using mixed media: drawings, images, texts and quotes and statistics excerpts of videos and archival films, historic footage, time-lapses, historic and contemporary photos, thematic maps, diagrams - and some carefully selected materials among those produced in all research assignments. The films will be all subtitled, meaning each slide/photogram has its associated text and discourse (which should not be descriptive of the images). Edit the materials carefully to build a strong, convincing narrative. You will then change the narrative and adapt is as you progress to the finals. Use only the strongest visuals and images, carefully chosen, the message needs to be delivered clearly. You need to tell a story. Use the research elements to build your story, adding more references when needed. Always include a final credit sheet.

Please note that the finalized, reworked films will be your main/core way of presenting the final project.

Referencesthe Berlage Thesis films (to be found on Vimeo or You-Tube)Jean-Luc Godard Histoire du Cinema

Fonts for texts: National Bold and/or Bureau Grot

Deliverables Two 3 min (each) films

DeadlinesPreliminary February 28th - pin up and video presentation (7 min)Intermediate March 6th - pin up and video presentation (7 min)Final April 23rd - pin up and video presentation (7 min)

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Learning Outcomes Upon completion of the course, each student: - has awareness of urban studies and urban design tools and representations in a cross cultural and multi-disciplinary way;– has awareness of potentials and limitations of a set of design approaches and strategies, of their strengths and weaknesses in a given context;– is able to link meaningfully research and design outcomes.

Teaching TeamProfessor Adjunct Alessandra Cianchetta assisted by Stephanie Marie Bigelow

Alessandra Cianchetta (AWP London) occasionally assisted by Stephanie Marie Bigelow, her former TA in the New York Paris program at GSAPP. Sessions will be held on Tuesdays and Wednesdays and Thursdays. A detailed calendar will be circulated as an annexe.Whenever a session is not held with the Professor, a specific & mandatory activity will be scheduled in relationship with the assignments. Assignments will be ditributed in class and by a dedicated google-drive (or blackboard) No late assignments will be accepted. Late submissions have a negative impact on final grades.

Structure, EtiquetteStudents will work on a range assignments throughout the semester. Each assignment has sub-assignments and ends with a formal presentation in the form of video-projection and pin up. Presentation and workshop sessions are meant to be more than a pin-up but an engaged, roundtable conversations.

Students are expected to arrive on time and be ready to discuss their work. Students must all respect each other’s input so that everyone feels comfortable expressing her or his ideas and opinions. Asking and responding to questions in class is vital and shows one’s engagement with and understanding of course material. All input is important. Please be thoughtful and address comments at the ideas being discussed rather than the individuals who are discussing them.

ParticipationActive and informed participation is strongly encouraged for all course participants.For each class session there are prescribed/required deliverables. All materials should be printed and ready to discuss PRIOR to the start of the session. Your ideas, questions, and comments are vital to the success of this course. You should complete all readings prior to class and arrive prepared to engage with the materials. Classes will be a mixture of tutorials, presentations, discussions, and individual and group work. Given the importance of discussion to understanding the major questions and themes at hand, attendance is mandatory. Being late, leaving early, and unexcused absences will adversely impact your attendance and participation grade. If you miss a class it is up to you to get the information presented from another student.

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Editorial Guidelines North symbol and graphic scale. All plans and maps should always show the North and a graphic scale

DrawingsAll architectural drawings (plans, sections, elevations, axonometrics etc) should be in BLACK & WHITE. Maps and diagrams will have a B/W «Nolli» (or Schwartz) plan base and a curated series of gradient colors. A limited palette of colors and hatches should be used for diagrams, maps, timelines etc. using a gradient color wheel with a limited amount of nuances (i.e. BW plus one chosen gradient), to achieve consistency this throughout all the assignments. 3d study models should be in white and/or grey-scales.

FontsTexts fonts (booklets, presentations, animations and posters) should always be consistent. Suggested font type for texts, titles and legend: National Regular and National Book. Posters’ font size/s : 10 for texts (statements and legends) 16 for all titles.

Posters’dimensionsPlease refer to each assignment

CitationsAny footnotes/citations should follow The Chicago Manual of Style (16th edition).Source: http://www.chicagomanualofstyle.org/

Images Credites and SourcesImages’ credits should be always listed below the reference image or illustration.Accurate information for the credits and captions should be supplied.All image or illustration must be in high definition (low definition, blur images should not be us Editorial Miscellany for texts and notes1. Spelling: use current American spelling and typographical practice.2. Numbers and dates: use figures rather than spelled-out numbers for cardinal numbers over one hundred and for all measurements. Form the plural of decades without an apostrophe; “1980s” rather than “1980’s.” Dates should be given in the following forms: “17 October 1947,” “17 October,” “October 1947,” & “1947-50.”3. Dimensions: use figures rather than spelled-out numbers and spell out units of measurement: “100 feet,” “43 centimeters,” “26 Roman palmi.” English and metric units may be abbreviated in discussions of quantitative data in technical articles: 100 ft., 43 cm (no periods with metric abbreviations).4. Titles of works including books, films, blogs, and publications should be italicized.5. Quotations from foreign languages should be translated, with the original in the endnote only if necessary. Isolated foreign words will be italicized in the printed text. Full foreign-language quotations are set in roman type and put within quotation marks. Foreign personal titles, names of buildings or rooms (Sala della Pace, Residenz), institutions (Bibliotheca Hertziana), and the like are not italicized.6. All other editorial issues may be resolved by consulting The Chicago Manual of Style or the editor.

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Selected readings & useful linksAAVV, Retracing the Expanded Field, Encounters between Art and Architecture, Edited by Spyros Papapetros and Julian Rose, MIT Press, 2014Armengaud, Marc, Armengaud, Matthias, Cianchetta, Alessandra : Nightscapes, Gustavo Gili, Barcelona, 2009Allen, Stan: Notations and Diagrams: Mapping the Intangible, in Practice: Architecture Technique and Representation, 2009Atelier Bow-wow: Made in Tokyo, 2001Belkind, Lara: Stealth Gentrification Camouflage and Commerce on the Lower East Side, 2009Benjamin, Walter The Arcades Project , Harvard University Press, 2002, ISBN 0-674-00802-2Goldsmith, Kenneth : Capital New York, Capital of the 20th Century, Verso Books, 2015Gregotti, Vittorio Inside Architecture, On Modification, MIT press, 1996Krauss, Rosalind, Sculpture in the Expanded Field, in October, Vol. 8. (Spring, 1979), pp. 30-44.Latour, Bruno Paris Invisible City, Les Empêcheurs de penser en rond & La Découverte (avec Emilie Hermant), 2009 virtual book http://www.bruno-latour.fr/virtual/index.htmlOlbrist, Hans Ulrich, Mapping It Out: An Alternative Atlas of Contemporary Cartographies, Thames & Hudson, 2014Shaviro, Stephen No Speed Limit, Three essays on accelerationismhttp://www.e-flux.com/journal/accelerationist-aesthetics-necessary-inefficiency-in-times-of-real-subsumption/Rebecca Solnit (Author), Joshua Jelly-Schapiro (Author) Nonstop Metropolis: A New York City Atlas, University of California Press, 2016Sontag, Susan Against Interpretation and Other essays, 1978 Whiting, Sarah “Going Public”

WORLD CAD MAPS: https://cadmapper.comSCHWARTZ PLANS & MAPS :https://schwarzplan.eu/en/Steven Shaviro MEDIA LINK http://www.e-flux.com/journal/accelerationist-aesthetics-necessary-inefficiency-in-times-of-real-subsumption/BRUNO LATOUR PARIS INVISIBLE CITY http://www.bruno-latour.fr/virtual/index.html.AWP EXAMPLES OF MAPS http://www.awp.fr/lab/awps-framework-plan-for-paris-cbds-la-defense-in-now-online/ http://www.ladefense.fr/fr/kiosque?tid=395http://www.ladefense.fr/fr/kiosque/plan-guide-classeur-generalMISCELLANEA:http://www.theberlage.nl/galleries/videos/watch/thesis_work_2015http://www.studio-basel.comhttp://thewhyfactory.com/project/http://www.fcl.ethz.ch/project/https://lsecities.nethttp://issuu.com/laucparis/docs/lauc_greater-paris_press-bookhttp://bigbangdata.cccb.org/tema-batec-mon/MEDIA LINK http://www.bruno-latour.fr/virtual/index.html.

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Professor’s details

Alessandra Cianchetta is an award-winning Italian-born architect whose work includes master planning, cultural buildings, interiors, exhibitions and publications. Among her recent realizations is Poissy Galore, a museum and observatory set in a park on the Seine, near Paris, the masterplan for Paris-La Défense, an arts district in Liverpool, UK and an 85,000-square-meter mixed-use sector in Lausanne Switzerland. Her A-Z Drawing Series, in collaboration with the artist Ania Soliman, has been selected for the Chicago Architecture Biennial 2017. Alessandra is a founder of AWP, a practice now based in London - having formerly worked for several years in Paris with AWP in France. In 2015 she was selected from among the leading women practitioners working in the UK for the show «Urbanistas: women innovators in architecture, urban and landscape design». She has taught architecture and urban-design studios at Cornell University, University of Virginia, Columbia University’s New York-Paris Program among others. She is also a consultant and adviser to Strelka KB in Moscow and to the Future Cities Laboratory in Singapore. She is currently a Professor at the Akademie der Bildenden Kunste in Vienna, a course leader at the University of Westminster in London and an expert at The Berlage center in the Netherlands.www.awp-architecture.com

[email protected] + 44 (0)7375827921

Stephanie BigelowA Masters of Architecture Candidate at the Graduate School of Architecture, Planning and Preservation Columbia University, and a former student and TA to Cianchetta at Columbia University New York Paris Program. Stephanie is currently taking a work sabbatical from GSAPP and may informally assist Cianchetta in the studio. She has recently completed a six month work experience at OMA Rotterdam prior to start an architectural assistantship at BIG NYC next March. She has worked across scales and across multiple contenents - Asia, Europe and North America, projects include: residential, headquarters and office buildings, department stores, premium stores, masterplanning and research.

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John Baldessari, Artist, Swamp

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Spring Term 2019 DESIGN STUDIO - DESIGN IV Professor Adjunct: ALESSANDRA CIANCHETTA

Irwin S. Chanin School of Architecture

THE COOPER UNION, NYC

Global Artscapes: The Mulberry Monument


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