BRIAN ADVENT CORE ANIMATOR SERIES
Structure: the course will commence with weekly lectures and computer- based tutorials, and culminate in a series of intensive incremental learning, and prepare groups to work on a final assignment which involves the robotic fabrication of a small design prototype.Ī long, deep green thread exists in American literature from Ralph Waldo Emerson and Walt Whitman through Herman Melville and William Carlos Williams on to Terry Tempest Williams and Wendell Berry. The course will explore design as the outcome of materially formative processed of computation and production. A design research project will be undertaken through a number of discrete assignments that require the synthetization or structural performance along with material and robotic production constraints. Students will develop skills and experience in computer programming, physics-based simulation, and robot motion planning. While production is traditionally viewed as an explicit and final act of execution, the course explores the potential for all aspects of building production and use to participate within the creative design process, potentially producing performance and affect. Theory, Case-Studies and practical tutorials will focus on the incorporation of analytical, simulation, generative computation and robot fabrication concerns within design. The course investigates opportunities for designers to synthesize multiple performance criteria within architecture. Material Formations introduces robotic production and material dynamics as active agents in design rationalization and expression.
The course will be active and interactive and will include building a collaborative dictionary of architectural terms. While we will trace instances of architecture, city planning, landscape and infrastructural developments that corresponded to dominant ways of conceiving modernity and its analog progress narratives, the course is mainly interested in considering resistant paradigms that elide attempts to speak of a unified or homogenous notion of modernity. Through twelve lectures the course traces critical questions confronting architectural modernity from the violence of settler colonialism to the possibilities of making kin. How do architecture, urbanism, and the environment reflect the dominant social, economic, and political changes of the twentieth and twenty-first centuries and how did its vast geopolitical shifts such as Imperialism, Fascism, the Cold War, Neoliberalism, the "War on Terror," and Nationalism reshape architecture culture? How might architecture culture respond and help construct its resistant variants, anti-fascism, anti-imperialism, decolonization, and making "quieter places" in Donna Haraway's sense? How do critical frameworks to rethink positivism, efficiency, standardization, and even utopian thinking become revised through the lenses of queer, postcolonial, critical race, and eco-feminist theory in postwar architectural production? And how do these frameworks allow us to conceive of more equitable ways of being in the world while thinking with a varied pasts? This course provides twelve discursive and theoretical frameworks to rethink architectural history in the twentieth and twenty-first century.
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