GSD Course Bulletin - Spring 2012
This term's information was last refreshed on 12 MAY 2015 14:53:34.
Courses taught by Allen Sayegh
01315: Un-War Architecture (STU 0131500)
Option Studio - 8 credits - Limited enrollment
Tuesday Wednesday 2:00 - 6:00
Since earliest times artists and designers have been major contributors to the Culture of War.
War propaganda commissions, design of s uniforms, armor, weapons, war camouflage, war monuments, war memorials, war shrines is a historical testimony to this fact.
In challenge to such "professional" heritage, this studio course will focus on mastering the power of artists, and designers in historically opposite "Un-War " direction - in interruptions and critical deconstructions of the workings of Culture of War and in pro-active work toward new Un-War Culture.
In time of continuing regional and civil wars, and continuing proliferation of nuclear weapons and a perspective of war as a global nuclear annihilation, it is imperative for artists and designers to continue and expand their engagement in peace building and un-war projects.
In search of specific design and artistic contribution to such larger ‘cultural disarmament’ and Un-War mission, this studio will focus on projects that can "disarm" the existing War Memorials, War Monuments and War Shrines and "re-arm" them for their new peace-building role.
Focus on existing, already built War Memorials is important because they are part of a key symbolic armament of Culture of War and Cult of War.
More specifically, the student projects may involve invention, development and practical experimentation with new especially designed, supplemental architectural structures to provide conditions for media installations, interactive displays, immersive environments as well as interventional, performative programs alternative commemorative events and projects: all superimposed, juxtaposed or in side-by-side relation with the iconic and textual narrative, architectural- sculptural symbolism, forms, programs and functions of the existing war Monuments Memorials and Shrines.
Work on projects will be supplemented by discussions, readings and student presentations reviews with guest critics and field trips.
The first half of semester will be devoted to study and design search and conceptual development of spatial and media, structures, interfaces, interactive responsive and display equipment and systems that can successfully engage, effect, transform the meaning of existing historic statues and monuments without physically touching engaging or altering them.
The second half of semester will be devoted to work on selected project(s) by students working in group(s) toward final presentation that will include a display of large scale models and/or full scale prototypes in public space.
02314: Responsive Environments: DISAPPEARANCE (VIS 0231400)
Lecture - 4 credits
Wednesday 8:30 - 11:30 Gund 508
This course focuses on creating digitally driven interactive experiences in our built environment derived from technological advances in embedded technologies, smart materials, and body-centric interactive media, with a strong emphasis on digital/analog inversions. This semester the theme to be explored is DISAPPEARANCE, which covers the conception, design, development, representation, and prototypical implementation of digitally driven responsive environments, and artifacts that disappear, fade, disintegrate, vanish over time, either from existence or from our faculties of sensory perception.
DISAPPEARANCE examines time as a generative component of spatial design. Throughout history, mankind has shown an obsessive concern with the fixity of its constructed environments. This has logically resulted in a definition of architecture as the practice of designing spaces enclosed by massive, durable structures, and the only way to configure places that can accommodate the habitual needs of the individual on one hand (domestic spaces), and the societal needs of the multitude on the other (publicly shared spaces and cities).
The question is, what if we could transcend the belief in time’s degenerative effects to think of it as generative, as the cradle of an ongoing process of creation and re-creation, configuration and re-configuration? Then those engaged in spatial practices of any sort could shift their attention from durability, or designing against time, to fluidity, or designing for temporality. Under these circumstances environments, architecture, and artifacts are not entities that need to resist the tyranny of time, but spatial settings that accommodate a dynamic flow of temporalities, events, ideas, and ongoing productive processes. The architecture of disappearance is actually the architecture of generative temporalities, quite conveniently accommodating the ephemeral within the concept of space as non-substantial, non-durable, or not-inert.
The course is organized into three parts: (1) a literature review of time as a generative factor of architectural or artifactual forms and spatial experiences, as well as disappearance as an inspiration for creating spatial experiences, (2) a rigorous cataloging of theoretical or practiced techniques and technologies of disappearance in art and architecture achieved by critically analyzing projects that utilize each technique, and (3) a hands-on approach to envisioning, proposing, designing, developing, and implementing prototypes of disappearing architectures and artifacts. To create these prototypical models, students are offered the basic technical knowledge necessary for programming virtual platforms, as well as platforms that allow for physical computing and electronic prototyping. These skills will be acquired in a series of integrated technical workshops focused on the use of open-source programming and prototyping platforms, such as Processing and Arduino.
The course is designed to culminate in the publication of the scholarly research and design projects produced by students, which will be launched in an exhibition of their work at the end of the semester. This course will be taught in conjunction with the Responsive Environments and Artifacts lab at Harvard GSD.
09201: Independent Study by Candidates for Master's Degrees (ADV 0920100)
Independent Study - 4 credits
Peter Del Tredici, Iñaki Abalos, Pierre Bélanger, Eve Blau, Neil Brenner, Joan Busquets, Felipe Correa, Daniel D'Oca, Gareth Doherty, Andreas Georgoulias, Jose Gomez-Ibanez, Andrea Hansen, K. Michael Hays, Michael Hooper, Eric Howeler, Timothy Hyde, Niall Kirkwood, Sanford Kwinter, David Mah, Panagiotis Michalatos, Mark Mulligan, Ciro Najle, Ken Tadashi Oshima, Richard Peiser, Chris Reed, Ingeborg Rocker, Peter Rowe, A. Hashim Sarkis, Allen Sayegh, Jeffrey Schnapp, James Stockard, Maryann Thompson, Charles Waldheim, Bing Wang, Krzysztof Wodiczko, Martin Bechthold
Students may take a maximum of 8 credit units with different instructors in this course series.Prerequisites: Graduate standing. Candidates may arrange individual work focusing on subjects or issues that are of interest to them but are not available through regularly offered course work. Students must submit an independent study petition and secure approval of their advisor and of the faculty member sponsoring the study.
09304: Independent Thesis for the Degree Master in Design Studies (ADV 0930400)
Research Seminar - 8 credits
Allen Sayegh, Martin Bechthold, Pierre Bélanger, Eve Blau, Neil Brenner, Andreas Georgoulias, K. Michael Hays, Timothy Hyde, Joyce Klein-Rosenthal, Sanford Kwinter, Rahul Mehrotra, Kiel Moe, Mohsen Mostafavi, Richard Peiser, Christoph Reinhart, Peter Rowe, Panagiotis Michalatos
A student who selects this independent thesis for the degree Master in Design Studies pursues independent research of relevance to the selected course of study within the Master in Design Studies program, under the direction of a GSD faculty member. This option precludes taking any other independent study.