dissensus_7_spring_2011_2012

Escola Tècnica Superior d’Arquitectura del Vallès
. dissensus
. dissensu s 7 _ fsp ri ng _semester 2011-2012
. architecture . film . politics
w w w. e ts a v. e du /a ssig n a t u r e s/d isse n su s
d e p a r ta m e n t d ’e xp r e ssió g r à fica a r q u ite ctò nic a
Escola Tècnica Superior d’Arquitectura del Vallès
. dissensus tries to explore the contemporary condition and spatial reality
on which architects operate broadening the view and fostering critical
reflection about aspects of society that are paramount but nonetheless
too often taken for granted… sociologists, anthropologists, philosophers,
artists, film-makers, thinkers… have understood many of these crucial
aspects of our cities and our lifes in a way that seems at least interesting
to analyze if not absolutely essential for an architect.
The verification of a great loss of social, critical, political and even utopian
impetus in the contemporary debate and production of architecture is
the underlying and motivating concern of the course. Upon generalized,
common acceptance of action and production mechanisms that follow
those of capitalism and the market, one must search for alternative ways
to advance towards a political dimension of architecture.
On the basis of already successful explorations of such alternative ways,
conducted in the fields of visual arts and cinema, the course tries to offer
a double insight and includes a series of film projections as an alternative
look at the city and at the issues, theories and reflections explored in the
classes. The aim is to foster debate and reflection, opening windows to
the appropriation of subversive mechanisms that may be applicable in a
trans-disciplinary way.
From such a reflective, somehow uncomfortable position, students should
“react”, formulating their own assignments (exercises) in the form of a
critical analysis, comparing, deepening, relating or de-constructing one
or more of the themes explored in the course.
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Escola Tècnica Superior d’Arquitectura del Vallès
After such a theoretical excursion, a number of films
will be screened in the afternoon session. The films
will be related to some of the issues addressed during
the first part of the day. The selected works are either
dealing with really interesting themes or doing it
through equally interesting mechanisms (expressive or
narrative machines).
The day can then finish with a debate/conversation that
works as a platform to connect themes, reflections,
contradictions, oppositions, gazes and sensibilities
explored during the class or extracted from the previous
classes/films. In order to achieve such a debate, daily
comments after the class and film will be required for
each participant, so that the comments can be used to
foster debate the following day/session.
w w w. e ts a v. e du /a ssig n a t u r e s/d isse n su s
. dissensu s 7 _ fsp ri ng _semester 2011-2012
The course is structured on the basis of a series of
lectures that try to explore the list of themes proposed.
Each of these lectures offers a first aproach/insight of
one of the themes, which is generally followed, after a
break, by a second, shorter and more specific lecture,
that offers a sort of counterpoint, in order to complement,
redefine or even question the initial aproach/view.
Throughout the course, several guests will offer some
of these counterpoints by means of their own research,
experience and work.
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Escola Tècnica Superior d’Arquitectura del Vallès
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Escola Tècnica Superior d’Arquitectura del Vallès
REQUIRED PROCEDURES, ASSIGNMENTS AND DUE WORK
1. REGISTER IN THE COURSE BLOG
Each student must connect to www.etsav.upc.edu/assignatures/dissensus and register by clicking ‘log
in’ then ‘register’, and using “name.surname” as username plus providing a valid email address to
which the password will be sent. (Be sure to do this properly since your username will be the only way to
identify your required comments). You can use this address to access directly to the registration process:
http://www.opa-a2a.org/dissensus/wp-login.php?action=register
3. 300-WORD ABSTRACT
Each student must produce a short (maximum 300 words) text that presents the idea for a longer essay/
paper that will have to reflect on the interplays of the notions of “the other/coexistence” to rethink the
role of architecture in the production of spaces for being and for living together, and in relationship to
some of the issues addressed in the course. This abstract must be sent via email to alberto.altes@upc.
edu before Saturday 16th of June 2012 at 20:00h.
4. GROUPS
The participants will be then organized in 6 groups based on the content of the abstracts and every one
in each group will be given tasks related to developing their own texts or preparing short presentations
of the readings we will share.
5. INDIVIDUAL PAPERS
A number of you will be asked to produce a serious critical reflection in the form of a short paper (30004000 words) that will develop the issues outlined in the abstract. Finished papers must be sent via email
to alberto.altes@upc.edu before midnight on Thursday 21st of June 2012.
6 . GROUP RESEARCH-THROUGH-READING
Some of you will continue to work in group to explore the relationships of the readings with the overall
theme of the course (the other/coexistence) in ways different than a written text.
5. FINAL PRESENTATION
Each student writing an individual paper and each group working on collective research will prepare a
very short, intense and critical presentation/synthesis of the paper/research performed, in the form of
a PECHA_KUCHA (X)x(Y)=360sec*. Presentations must be 360 seconds long maximum and consist of a
file that can be played full-screen. This presentations should be brought to the class in a USB drive. All
presentations will take place the last day of the course on the 22nd of June 2012.
. dissensu s 7 _ fsp ri ng _semester 2011-2012
2. WEBLOG COMMENTS
Each student must send at least one comment per day to the posts that will be published as the
course progresses. Main posts will be entitled ‘DAY # DAYTHEME ‘. The comment must be sent before
midnight. At the end there must be at least 5 comments per student (one per session) although additional
commenting and discussion are encouraged.
PECHA_KUCHA 360: (X slides)x(Y seconds)=360 seconds total
w w w. e ts a v. e du /a ssig n a t u r e s/d isse n su s
d e p a r ta m e n t d ’e xp r e ssió g r à fica a r q u ite ctò nic a
Escola Tècnica Superior d’Arquitectura del Vallès
WEEK 1 - DISSENSUS 7 - LECTURES / GUEST LECTURES / FILMS / DISCUSSIONS
DAY 01
MONDAY
2012/06/11
10:00H 12:00h - 14:00 14:00h - 16:00
INTRO
Introduction To Dissensus. Objectual Imagery, Pragmatic Dissent (Alberto Altés)
LUNCH BREAK
16:00h - 20:00h FILM SCREENINGS + DISCUSSION
F01 // Waking Life. USA, 2001, 99’ V.O. English. S. Eng. (Richard Linklater)
F02 // The Dubai in Me. Germany, 2010, 78’ V.O. English. (Christian von Borries)
DAY 02
TUESDAY
2012/06/12
10:00h - 12:00h The Other, Coexistence, The Public Domain (Alberto Altés)
12:00h - 14:00 The Supplanted City (Elvira Pujol and Joan Vila-Puig, Sitesize)
14:00h - 16:00 LUNCH BREAK
16:00h - 20:00h FILM SCREENINGS + DISCUSSION
F_03 // Hundstage. Austria, 2001, 121’ V. O. German. S. Eng. (Ulrich Seidl)
F_04 // Funny Games. Austria, 1997, 103’ V.O. German, S. Eng. (Michael Haneke)
DAY 03
WEDNESDAY
2012/06/13
10:00h - 12:00h Disjuncture, Difference, Exclussion (Alberto Altés)
12:00h - 14:00 Fes, Ciudad Interior (Toni Serra)
14:00h - 16:00 LUNCH BREAK
16:00h - 20:00h FILM SCREENINGS + DISCUSSION
F_05 // La Haine. France, 1995, 98’ V. O. French. S. Eng. (Mathieu Kassovitz)
F_06 // Ekumenopolis. Istanbul, 2011, 88’ V.O. English. S. Eng. (Imre Azem)
DAY 04
THURSDAY
2012/06/14
10:00h - 12:00h Exiles and Territories, Walls, Borders, Frontiers (Alberto Altés)
12:00h - 14:00 Local Cosmopolitism and Urbanalisation (Francesc Muñoz, UAB)
14:00h - 16:00 LUNCH BREAK
16:00h - 20:00h FILM SCREENINGS + DISCUSSION
F_07 // Performing the Border, Germany, 59’ V.O. English, (Ursula Biemann)
F_08 // Demolition. USA, 2010, 62’ V.O. Chinese. S. Eng. (J.P. Sniadecki)
F_09 // Lagos Wide&Close. NED, 2005, 60’. V.O. English (Bregtje van der Haak)
DAY 05
FRIDAY
2012/06/15
10:00h - 12:00h Critical Spatial Practice - Immediate Architectural Intervention (Alberto Altés)
12:00h - 14:00 ??
14:00h - 16:00 LUNCH BREAK
16:00h - 20:00h FILM SCREENINGS + DISCUSSION
F_10 // Get Out of the Car. USA, 2010, 34’ V. O. Eng. (Thom Andersen)
F_11 // In Order Not to Be Here, USA, 2005, 40’, V.O, English (Deborah Stratman)
F_12 // Pervert’s Guide to Cinema, UK, 2006, 150’ V.O. Eng, S. Eng. (Sophie Fiennes)
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Escola Tècnica Superior d’Arquitectura del Vallès
DAY 06
SATURDAY
2012/06/16
20:00h 300-WORD ABSTRACT DUE
* Please submit your text before 20:00 h
DAY 08
MONDAY
2012/06/18
10:00h - 11:00
11:00h - 12:00 12:00h - 13:00 13:00h - 14:00
CRITICAL WRITING TUTORIAL 1 - GROUP A
READINGS 1 - GROUP A
CRITICAL WRITING TUTORIAL 1 - GROUP B
READINGS 2 - GROUP B
16:00h - 17:00
17:00h - 18:00 18:00h - 19:00 19:00h - 20:00
CRITICAL WRITING TUTORIAL 1 - GROUP C
READINGS 3 - GROUP C
CRITICAL WRITING TUTORIAL 1 - GROUP D
READINGS 4 - GROUP E
10:00h - 11:00
11:00h - 12:00 12:00h - 13:00 13:00h - 14:00
CRITICAL WRITING TUTORIAL 1 - GROUP E
READINGS 5 - GROUP E
CRITICAL WRITING TUTORIAL 1 - GROUP F
READINGS 6 - GROUP F
16:00h - 17:00
17:00h - 18:00 18:00h - 19:00 19:00h - 20:00
CRITICAL WRITING TUTORIAL 2 - GROUP A
GROUP RESEARCH TUTORIAL - GROUP A
CRITICAL WRITING TUTORIAL 2 - GROUP B
GROUP RESEARCH TUTORIAL - GROUP B
10:00h - 11:00
11:00h - 12:00 12:00h - 13:00 13:00h - 14:00
CRITICAL WRITING TUTORIAL 2 - GROUP C
GROUP RESEARCH TUTORIAL - GROUP C
CRITICAL WRITING TUTORIAL 2 - GROUP D
GROUP RESEARCH TUTORIAL - GROUP D
16:00h - 17:00
17:00h - 18:00 18:00h - 19:00 19:00h - 20:00
CRITICAL WRITING TUTORIAL 2 - GROUP E
GROUP RESEARCH TUTORIAL - GROUP E
CRITICAL WRITING TUTORIAL 2 - GROUP F
GROUP RESEARCH TUTORIAL - GROUP F
DAY 11
THURSDAY
2012/06/21
23:59
INDIVIDUAL AND GROUP WORK ON FINAL PAPERS AND PRESENTATIONS
3000-4000-WORD PAPER DUE BEFORE MIDNIGHT
DAY 12
FRIDAY
2012/06/22
10:00 - 14:00 FINAL PRESENTATIONS AND DISCUSSIONS
DAY 09
TUESDAY
2012/06/19
DAY 10
WEDNESDAY
2012/06/20
w w w. e ts a v. e du /a ssig n a t u r e s/d isse n su s
. dissensu s 7 _ fsp ri ng _semester 2011-2012
WEEK 2 - DISSENSUS 7 - CRITICAL WRITING SEMINAR
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Escola Tècnica Superior d’Arquitectura del Vallès
MAIN BIBLIOGRAPHY AND REFERENCES
Agamben, Giorgio (2005), State of exception, (Chicago: University of Chicago Press).
Barber, Stephen (2002), Projected cities, (London: Reaktion).
Bauman, Zygmunt (2000), Liquid modernity, (Cambridge Malden, MA: Polity Press Blackwell).
Bazin, André (2005), What is cinema, (Berkeley: University of California Press).
Benjamin, Walter, et al. (2008), The work of art in the age of its technological reproducibility : and other writings on media, (Cambridge, Mass. ; London:
Belknap Press of Harvard University Press).
Bhabha, Homi K (2004), The location of culture, (London ; New York: Routledge).
Bruno, Giuliana (2002), Atlas of emotion : journeys in art, architecture, and film, (New York ; London: Verso).
Clarke, David B (1997), The cinematic city, (London ; New York: Routledge).
Debord, Guy (1995), The society of the spectacle, (1st paperback ed edn., New York: Zone Books).
Deleuze, Gilles and Félix Guattari
——— (1983), Anti-Oedipus : capitalism and schizophrenia, (Minneapolis: University of Minnesota Press).
——— (1987), A thousand plateaus : capitalism and schizophrenia, (Minneapolis: University of Minnesota Press).
Delgado, Manuel (1999), El Animal Publico: Hacia Una Antropologia de Los Espacios Urbanos (Spanish Edition), (Editorial Anagrama).
Denzin, Norman K (1995), The cinematic society : the voyeur’s gaze, (London ; Thousand Oaks, Calif: Sage Publications).
Easterling, Keller (2005), Enduring innocence : global architecture and its political masquerades, (Cambridge, Mass: MIT Press).
Gadamer, Hans-Georg (2006), Estetica y Hermeneutica/ Aesthetics and Hermeneutics (Spanish Edition), (Tecnos Editorial S a).
Gorostiza, López, Jorge (2007), La profundidad de la pantalla : arquitectura + cine, (Santa Cruz de Tenerife,Colegio Oficial de Arquitectos de
Canarias).
Harvey, David (1990), The condition of postmodernity : an enquiry into the origins of cultural change, (Cambridge, Mass: Blackwell).
Jameson, Fredric (1977), Aesthetics and politics : Ernst Bloch, Georg Luka?cs, Bertolt Brecht, Walter Benjamin, Theodor Adorno, (London: NLB).
Koolhaas, Rem, et al. (1998), Small, medium, large, extra-large : OMA, Rem Koolhaas, and Bruce Mau, (2d ed edn., New York, N.Y: Monacelli Press).
Kracauer, Siegfried (1997), Theory of film : the redemption of physical reality, (Princeton,N.J. ; Chichester: Princeton University Press).
Latour, Bruno
——— (1993), We have never been modern, (Cambridge, Mass: Harvard University Press).
——— (2005), Making things public : atmospheres of democracy, (Cambridge, Mass: MIT Press ZKM/Center for Art and Media in Karlsruhe).
——— (2005), Reassembling the social : an introduction to actor-network-theory, (Oxford ; New York: Oxford University Press).
Lefebvre, Henri
——— (1991), The production of space, (Oxford, OX, UK ; Cambridge, Mass., USA: Blackwell).
——— (2006), La presencia y la ausencia : contribución a la teoría de las representaciones, (México: Fondo de Cultura Económica).
Massumi, Brian (2002), Parables for the virtual : movement, affect, sensation, (Post-contemporary interventions; London: Duke University Press).
Mennel, Barbara Caroline (2008), Cities and cinema, (London ; New York: Routledge).
Merleau-Ponty, Maurice (2002), Phenomenology of perception, (Routledge classics; London: Routledge).
Pallasmaa, Juhani
——— (2001), The architecture of image : existential space in cinema, (Helsinki: Rakennustieto).
——— (2005), The eyes of the skin : architecture and the senses, (Chichester: Wiley-Academy).
Rancière, Jacques
——— (2006), The politics of aesthetics : the distribution of the sensible, (Pbk. ed edn., London ; New York: Continuum).
——— (2007), The future of the image, (English ed edn., London ; New York: Verso).
——— (2009), The emancipated spectator, (London: Verso).
Segal, Rafi, Eyal Weizman (2003), A civilian occupation : the politics of Israeli architecture, (Tel Aviv, Israel New York: Babel VERSO).
Sennett, Richard (1992), The fall of public man, (New York: W.W. Norton).
Shiel, Mark and Tony Fitzmaurice (2001), Cinema and the city : film and urban societies in a global context, (Oxford, Blackwell Publishers).
Soja, Edward W (2000), Postmetropolis : critical studies of cities and regions, (Malden, MA: Blackwell Publishers).
Vidler, Anthony (2008), Architecture between spectacle and use, (Sterling and Francine Clark Art Institute Distributed by Yale University Press).
Vogel, Amos and Scott MacDonald (2005), Film as a subversive art, (London [New York]: CT Editions D.A.P./Distributed Art Publishers).
Wenders, Wim (1992), The act of seeing : Texte und Gespräche, (Frankfurt am Main: Verlag der Autoren).
Wigley, Mark (1998), Constant’s New Babylon : the hyper-architecture of desire, (Rotterdam: Witte de With: 010 Publishers).
Zizek, Slavoj
——— (2006), The parallax view, (Cambridge, Mass: MIT Press).
——— (2009), En defensa de la Intolerancia, (Madrid: Sequitur).
Zunzunegui, Díez, Santos (1998), Pensar la imagen, (Signo e imagen ; 15; Madrid: Cátedra : Universidad del País Vasco).
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Escola Tècnica Superior d’Arquitectura del Vallès
. dissensus
. dissensu s 7 _ fsp ri ng _semester 2011-2012
. architecture . film . politics
w w w. e ts a v. e du /a ssig n a t u r e s/d isse n su s
d e p a r ta m e n t d ’e xp r e ssió g r à fica a r q u ite ctò nic a
Escola Tècnica Superior d’Arquitectura del Vallès
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Escola Tècnica Superior d’Arquitectura del Vallès
. dissensus
. dissensu s 7 _ fsp ri ng _semester 2011-2012
. architecture . film . politics
Coordination:
Alberto Altés, Associate Lecturer, phd candidate, UPC
Guest Faculty:
Elvira Pujol - Joan Vila-Puig (Sitesize)
Toni Serra (OVNI, Barcelona)
Francesc Muñoz (Geographer, UAB)
Aida Sánchez de Serdio (Artist, UB)
Javier Rodrigo Montero (Art Educator and Researcher)
5.0 ETSAV CREDITS // 4.0 ECTS
w w w. e ts a v. e du /a ssig n a t u r e s/d isse n su s
Course Code: 47062
d e p a r ta m e n t d ’e xp r e ssió g r à fica a r q u ite ctò nic a
Escola Tècnica Superior d’Arquitectura del Vallès
“At bottom, the intellectual, in my
sense of the word, is neither a
pacifier nor a consensus-builder,
but someone whose whole being
is staged on a critical sense, a
sense of being unwilling to accept
easy formulas, or ready-made
clichés, or the smooth, ever-soaccommodating confirmations of
what the powerful or conventional
have to say, and what they do. ”
Edward Said, Representations of the Intellectual, page 23
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