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Welcome!to!the!First!Year!Studio!!
Use$the$summer$to$warm$up$and$get$ready$to$embrace$architecture.$$
Read$the$Prospectus$and$familiarize$yourselves$with$the$agenda$of$2016O17,$and$put$
together$your$A4$journal$(see$summer$assignment).$$
Do$not$worry$about$getting$it$right.$If$you$are$unsure$about$something,$do$it$anyway.$As$
you$will$discover,$there$are$no$right$or$wrong$answers$in$architecture.$Instead,$
experience,$enjoy$and$be$curious$about$architecture.$$
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AA!FIRST!YEAR!2016=17!CONTENTS!
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1.!AA!FIRST!YEAR!2016=2017!PROSPECTUS!...................................................................!3!
2.!GETTING!READY:!SUMMER!ASSIGNMENT!(1)!!JOURNAL!.........................................!7!
3.!GETTING!READY:!BOOKS!FOR!TERM!1!(books!to!read!and!study!during!Term!1)!.......!9!
4.!GETTING!READY:!RECOMMENDED!EQUIPMENT!.....................................................!10!
5.!CONSTRUCT!YOUR!LIBRARY:!ARCHITECTURE!AND!BEYOND!....................................!11!
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1.!AA!FIRST!YEAR!2016=2017!PROSPECTUS!
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First$Year$at$the$AA$is$the$initial$exposure$to$the$fiveOyear$study$of$architecture$ending$
with$the$AA$Diploma.$The$course$immediately$engages$with$the$discipline$as$a$way$of$
thinking$that$both$affects$and$is$affected$by$the$wider$context$of$the$present$moment.$
The$focus$of$First$Year$is$to$reOinvent$architectures$enduring$topics$and$questions$while$
simultaneously$searching$the$current$world$for$accidents$and$shifts$within$the$discipline.$
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The$First$Year$is$characterised$by$studioObased$investigations$that$are$developed$
through$thinking$and$making.$The$studio$itself$offers$students$a$space$where$they$can$
step$away$from$the$conventional$tools$of$education$$their$own$desks$and$laptops$$in$
order$to$develop$their$thinking$processes$and$ways$of$working.$$The$work$we$make$is$
shared,$discussed,$pushed$forward$and$moved$to$other$settings$$between$cities$and$
countries,$and$in$annexe$to$past$architecture.$We$will$use$London$as$an$active$
laboratory$to$explore$the$different$forces$that$reshape$the$city$and$the$different$spatial$
constructs,$thoughts$and$visions$that$emerge$as$a$result.$We$will$also$visit$the$works$of$
architects,$artists,$writers,$philosophers$and$scientists$who$have$questioned$how$we$live$
by$reimagining$spatial$conditions$as$social$constructs$with$programmatic,$stylistic$and$
temporal$qualities.$To$understand$the$role$of$alternative$communication$in$architecture$
we$will$enter$these$novels,$films,$texts$works$of$art,$drawings,$spaces$and$essays.$
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Over$the$course$of$the$year$you$will$learn$how$to$relate$your$experiences$of$architecture$
to$both$the$present$and$the$imaginary.$You$will$visually$synthesise$and$translate$your$
ideas$into$a$personal$yearOlong$portfolio$of$work,$informed$by$various$modes$of$writing,$
designing$and$arguing.$In$the$First$Year,$reacting$matters$more$than$planning,$imagining$
comes$before$experimenting,$and$experiencing$something$is$not$synonymous$with$
browsing.$While$we$collectively$address$ideas$and$questions,$how$you$ultimately$choose$
to$express$an$idea$is$open$for$you$to$independently$test$and$define.$Workshops$and$
Complementary$Studies$courses$taken$alongside$the$First$Year$studio$will$offer$multiple$
ways$of$exploring$and$translating$your$thoughts$into$projects.$

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The$First$Year$studio$seeks$students$who$express$a$curiosity$in$the$present$and$who$
possess$both$an$affinity$for$thinking$independently$and$the$flexibility$to$constructively$
engage$with$different$thinkers$and$audiences.$In$the$First$Year$we$reject$embracing$the$
past$or$future.$Instead,$the$present$is$here$to$not$just$be$lived$out$but$to$be$imagined$
and$reinvented$again.$
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PRESENT!&!ARCHITECTURE!
$The$world$fascinates$me$$Andy$Warhol,$1964$
$$Too$much$world$$$Hito$Steyerl,$2014$
The$present$world$is$too$dense$to$be$left$unexplored.$At$the$same$time$it$is$too$dense$to$
be$constantly$lived$in.$$These$opposing$statements$are$at$the$heart$of$the$First$Year$
ethos$$in$engaging$with$ideas$from$multiple$angles,$we$maintain$an$open$approach.$
This$ability$to$see$not$only$one$side$of$an$idea$but$the$bigger$picture$is$an$essential$skill$
that$the$course$will$embrace$throughout$the$year.$In$paying$attention$to$the$world$in$its$
present$continuum,$we$will$see$how$shifts$and$accidents$crystallise$into$social$and$
spatial$habits.$Architects$have$a$distinct$way$of$thinking$visually,$translating$complex$
forces$and$information$into$new$spatial$inventions.$An$architect$is$an$improviser$who$
has$the$ability$to$see$beyond$the$present,$and$this$essential$skill$should$constantly$be$
honed$and$refreshed.$This$year$we$will$pay$attention$to$the$present$and$to$architecture$
by$searching$and$questioning$our$current$ways$of$living$and$modes$of$life.$
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Search$$Forms$of$enquiry$are$essential$to$the$work$of$the$First$Year.$Rather$than$
seeking$the$answers$to$our$questions,$our$work$often$generates$even$more$unknowns.$$
This$year$we$specifically$ask:$What$are$alternative$ways$of$living?$In$focusing$on$this$
topic$we$will$investigate$the$emerging$spatial$constructs$that$are$symptomatic$of$our$
present$moment.$For$us,$searching$means$directly$experiencing$our$surroundings$by$
seeing$what$is$hidden$or$about$to$be$revealed.$We$will$not$only$wander$spaces,$
buildings,$cities$and$territories$but$also$engage$with$architecture$as$the$making$of$
projects$by$visiting$archives$and$collections.$$
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Reinvent$$Can$we$reinvent$ways$of$living$and$ways$of$inhabiting$our$present?$We$will$
start$Term$2$by$challenging$architectural$conventions$of$programming$and$spatial$
relations.$While$spatial$complexity$and$contradiction$are$still$present$in$our$cities,$they$
are$layered$between$the$complexity$and$contradiction$of$the$inhabitants.$We$belong$to$
multiple$territories$and$to$multiple$spatial$conditions,$alternating$between$different$
forms$of$living$and$varied$codes$of$behaviours$and$habits.$We$live$in$between$countries$
and$urban$sceneries,$more$than$in$between$a$city$and$its$outskirts.$We$will$question$the$
scale$of$spatial$constructs$by$crossing$cities$and$landscapes$$from$London$to$Marfa,$
Texas$and$from$Houston$to$Iceland.$
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Imagine$$Do$you$know$how$to$imagine$the$present?$Towards$the$middle$of$the$
academic$year$we$will$put$forward$positions$that$challenge$how$we$communicate$a$
spatial$construct.$By$learning$from$the$work$of$photographers,$writers,$philosophers,$
filmmakers,$artists,$and$how$they$imagine$and$invent$the$present$with$their$work,$we$
will$imagine$modes$of$life$that$can$be$shaped$by$unpredictable$settings,$while$
embracing$difficult$searches$and$choices$that$are$translated$into$work$that$speaks$and$
provokes$unexpected$thoughts.$We$will$use$forms$of$communication$that$are$enriched$
by$different$types$of$resolutions$while$imagining$and$constructing$the$present.$
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STAFF!
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O$Programme$Head:$
Monia$De$Marchi$
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O$Studio$Master:$
Shany$Barath$
Pol$Castello$Esteve$
John$Ng$
O$Studio$Tutor:$
Alexandra$Vougia$
O$Visiting$lecturers$to$be$confirmed$
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Monia$De$Marchi$is$an$architect$and$graduate$of$both$the$Istituto$di$Architettura$di$
Venezia$and$of$the$DRL$at$the$AA$School.$She$has$been$the$programme$head$of$the$First$
Year$since$2011$while$also$running$her$own$practice.$She$has$taught$at$the$AA$School$
since$2005$as$a$unit$master$in$both$the$Intermediate$and$Diploma$Schools.$
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Shany$Barath$is$a$founding$partner$of$the$architecture$firm$ShaGa$Studio.$She$studied$at$
TU$Delft$and$the$AA$School,$where$she$has$taught$since$2009$in$the$DRL$graduate$
programme$and$Media$Studies$department.$She$directs$the$Tel$Aviv$AA$Visiting$School.$
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Pol$Esteve$is$an$architect$who$trained$at$ETSA$Barcelona$and$at$the$AA$School.$He$is$coO
founder$of$the$platform$of$architectural$production$GOIG.$He$currently$teaches$both$
First$Year$Studio$and$History$and$Theories$Studies$at$the$AA$School$and$is$the$director$of$
the$Brussels$Visiting$School.$$$
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John$Ng$studied$architecture$at$the$University$of$Bath$the$AA$School$where$he$has$
taught$since$2011.$He$founded$ELSEWHERE$and$practises$architecture$in$London.$
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Alexandra$Vougia$studied$architecture$in$Thessaloniki,$Greece,$and$holds$an$MS$in$
advanced$architectural$design$from$Columbia$Universitys$GSAPP$a$PhD$from$the$AA$
School.$She$has$worked$as$an$architect$in$New$York$and$Athens$and$has$taught$at$the$AA$
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School$since$2012.

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2.!GETTING!READY:!SUMMER!ASSIGNMENT!(1)!!JOURNAL!
Buy$an$A4$sized$notebook(s)$and$take$it$with$you$wherever$you$go.$$
Starting$from$today$until$Monday$26th$of$September,$every$week$use$your$journals$to$
sketch,$write$long$descriptions,$collect$particular$material,$record$with$your$own$photos,$
your$reflections$on:$
*$one$book$from$the$list$of$ESSENTIAL$READINGS$below$(all$or$part$of$it,$depends$on$
complexity$of$the$book)$
*$one$visit$to$a$building,$or$a$space,$or$a$city$$
*$one$extra$thing$of$your$choice$(exhibition,$event,$conversation,$online$lecture,$film,$
text,$place,$etc.)$
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DEADLINE:!Submit!your!Journal(s)!on!Monday!26th!of!September!at!11am!in!the!First!
Year!Studio.!
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ESSENTIAL$READINGS$$
All$Readings$to$be$done$by$Monday$26th$September$2016$$Week$1$of$Term$1.$$
Find$parts$of$the$books$that$are$inspiring$for$you:$take$notes,$notate$these$readings$and$
translate$them$into$visual$sketches$in$your$A4$journal.$
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1.$Frampton,$Kenneth.$Modern(Architecture:(a(Critical(History.$London:$Thames$and$
Hudson,$1980$(read$all).$
2.$Kipnis,$Jeffrey.$A(Question(of(Qualities:(Essays(in(Architecture.$Cambridge,$MA:$The$
MIT$Press,$2013$(parts$of$your$choice).$
3.$Rasmussen,$Steen$Eiler.$Experiencing(architecture.$Cambridge,$MA:$The$MIT$Press,$
1962$(read$all).$
4.$Le$Corbusier.(Vers(une(architecture.$Paris:$G.$Cres,$1924.$
English$editions:$Towards(a(New(Architecture.$London:$The$Architectural$Press,$1927.$$

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Or:$Toward(an(Architecture.$Introduction$by$JeanOLouis$Cohen.$London:$Frances$Lincoln,$
2008$(parts$of$your$choice).$
5.$Warhol,$Andy.$The(Philosophy(of(Andy(Warhol:(From(A(to(B(and(Back(Again.$San$
Diego,$CA:$Harcourt,$1977$(parts$of$your$choice).$
6.$Venturi,$Robert,$Denise$Scott$Brown,$and$Steven$Izenour.(Learning(from(Las(Vegas.$
Cambridge,$MA:$The$MIT$Press,$1972$parts$of$your$choice).$
7.$Koolhaas,$Rem.$Delirious(New(York:(A(Retroactive(Manifesto(for(Manhattan.$London:$
Thames$and$Hudson,$1978$(parts$of$your$choice).$
8.$Forty,$Adrian.$Words(and(Buildings.$New$York:$Thames$and$Hudson,$2000$parts$of$
your$choice).$
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3.!GETTING!READY:!BOOKS!FOR!TERM!1!(books!to!read!and!study!during!Term!1)!
The$following$readings$are$related$to$Term$1$Studio$Projects.$$
(The$following$readings$do$not$have$to$be$included$in$your$A4$journal$to$be$submitted$in$
Week$1.$However,$you$are$more$than$welcome$to!)$
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1.$balos,$Iaki.$La(Buena(Vida:(Visita(Guiada(a(las(Casas(de(la(Modernidad.$Barcelona:$
Gustavo$Gili,$2000.$$
English$edition:$The(Good(Life:(a(Guided(Visit(to(the(Houses(of(Modernity.$Barcelona:$
Gustavo$Gili,$2001.$
2.$Colomina,$Beatriz.$Privacy(and(Publicity:(Modern(Architecture(as(Mass(Media.$
Cambridge,$MA:$The$MIT$Press,$1994.$
3.$Venturi,$Robert.$Complexity(and(Contradiction(in(Architecture.$New$York,$NY:$The$
Museum$of$Modern$Art,$1966.$
4.$Zell,$Mo.$The(Architectural(Drawing(Course:(Understand(the(Principles(and(Master(the(
Practices.$London:$Thames$and$Hudson,$2008.$
5.$Kerr,$Joe$and$Andrew$Gibson.$London:(From(Punk(to(Blair.$London:$Reaktion$Books,$
2003.$
6.$Kostof,$Spiro.$The(City(Shaped:(Urban(Patterns(and(Meanings(throughout(History.$
London:$Thames$&$Hudson,$1999.$
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Highly(recommended$$read$Stories$of$Cities$series$on$the$Guardian$Newspaper:$
https://www.theguardian.com/cities/series/theOstoryOofOcities$
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4.!GETTING!READY:!RECOMMENDED!EQUIPMENT!
The$following$is$a$suggested$equipment$list.$It$is$recommended$to$purchase$this$
equipment$before$commencing$First$Year.$We$have$included$some$suggested$links$for$
your$example$reference.$$
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O$Sketchbook$(Minimum$A4$Size)$
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O$A1$Portfolio$(Internal$Plastic$Sleeves$are$not$needed)$
http://www.amazon.co.uk/dp/B0013F670S$
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O$Metric$Scale$Ruler$
http://www.amazon.co.uk/dp/B00123368C$
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O$Cutting$Mat$(Minimum$A2)$
http://www.amazon.co.uk/dp/B00RIX8O1E$
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O$Scalpel$with$Changeable$Blades$
http://www.amazon.co.uk/dp/B0038WL90M$
http://www.amazon.co.uk/dp/6040118431$
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O$Laptop,$MAC$or$PC$
(No$preference$between$MAC$or$PC.$It$is$not$necessary$to$install$any$particular$
programmes$for$now)$
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O$Mouse$with$2$buttons$+$Scroll$Wheel$
http://www.amazon.co.uk/dp/B005LIFKCE$
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O$A3$Printer$
http://www.amazon.co.uk/dp/B00HZDLDK6$
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O$External$Hard$Drive$
http://www.amazon.co.uk/dp/B0058VIWTM$
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O$Large$storage$boxes$(For$keeping$your$models$at$home)$
http://www.amazon.co.uk/dp/B0069AA3TI$
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5.!CONSTRUCT!YOUR!LIBRARY:!ARCHITECTURE!AND!BEYOND!
These$are$some$essential$architecture$books$and$recommended$nonOarchitectural$
readings$for$general$knowledge.$
Note:$The$readings$which$are$related$to$Term$2$Studio$Projects$are$indicated$with$Red,$
while$the$ones$related$to$Term$3$Studio$Projects$are$indicated$with$Blue.$
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ARCHITECTURE!BOOKS!
O$Banham,$Reyner.$Scenes(in(America(Deserta.$Salt$Lake$City:$Gibbs$M.$Smith$Inc.,$1982.$
O$Banham,$Reyner.$A(Critic(Writes:(Essays(by(Reyner(Banham.$London:$University$of$
California$Press,$1996.$
O$Basar,$Shumon,$Douglas$Coupland$and$Hans$Ulrich$Obrist.$The(Age(of(Earthquakes:(a(
Guide(to(the(Extreme(Present.$London:$Penguin,$2015.$
O$Basar,$Shumon$and$Stephan$Truby,$eds.$The(World(of(Madelon(Vriesendorp:(Paintings,(
Postcards,(Objects,(Games.$London:$AA$Publications,$2008.$
O$ Boesiger,$ Willy,$ ed.$ Le( Corbusier( Oeuvre( complte( en( 8( volumes.$ Berlin:$ Birkhaser$
GmbH,$1995.$
$$$Note:$The$Oeuvre$is$available$as$separate$volumes$in$the$AA$Library$and$online.$
O$Carpo,$Mario.$The(Alphabet(and(the(Algorithm.$Cambridge,$MA:$The$MIT$Press,$2011.$
O$Clark,$Roger$and$Michael$Pause.$Precedents(in(Architecture:(Analytic(Diagrams,(
Formative(Ideas,(and(Partis.$Hoboken,$New$Jersey,$NJ:$John$Wiley$and$Sons,$2005.$
O$Dallegret,$Franois$et$al.(God(&(Co:(Franois(Dallegret(Beyond(the(Bubble.$London:$AA$
Publications,$2011.$
O$Evans,$Robin.$Translations(from(Drawing(to(Building(and(Other(Essays.$London:$
Architectural$Association,$1997.$
O$Hardingham,$Samantha.$Cedric(Price(Works(1952((2003:(A(Forward_minded(
Retrospective.$London:$AA$Publications,$2016.$
O$Lerup,$Lars.$Planned(Assaults.(The(Nofamily(House.(Love/House,(Texas(Zero.$
Cambridge,$MA:$The$MIT$Press,$1987.$
O$Loos,$Adolf.$Ornament$und$Verbrechen.(Cahiers(d'Aujourd'Hui(5$(1913).$

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English$edition$of$the$essay$in:$Ornament(and(Crime:(Selected(Essays.$Riverside,$CA:$
Ariadne$Press,$1998.$
O$OMA,$Rem$Koolhaas$and$Bruce$Mau.$S,(M,(L,(XL:(Small,(Medium,(Large,(Extra_Large.$
New$York,$NY:$Monacelli$Press,$1995.$
O$Pope,$Albert.$Ladders.$New$York$City,$NY:$Princeton$Architectural$Press,$2015.$
O$Tafuri,$Manfredo.$Theories(and(History(of(Architecture.$London:$Harper$&$Row$
Publishers,$1980.$
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NON=FICTION!
O$Ackroyd,$Peter.$London:(The(Biography.$London:$Chatto$&$Windus,$2003.$$
O$Aug,$Marc.$Non_Places.$London:$Verso,$1995.$
O$Barthes,$Roland,$Richard$Miller,$and$Richard$Howard.$The(Pleasure(of(the(Text.$New$
York:$Hill$and$Wang,$1975.$
O$Barthes,$Roland$and$Annette$Lavers.$Mythologies.$New$York,$NY:$Hill$and$Wang,$1972.$
O$Baudrillard,$Jean.$America.$New$Ed.$London:$Verso,$2010.$
O$Berger,$John$et$al.$Ways(of(Seeing.$London:$Penguin$1972.$
O$Berman,$Marshall.$All(That(Is(Solid(Melts(Into(Air.$New$York:$Simon$and$Schuster,$1982.$
O$Bois,$YveOAlain$and$Krauss,$Rosaline$E.$Formless,(A(Users(Guide.$New$York:$Zone$Books,$
1997.$
O$Coupland,$Douglas.$Kitten(Clone:(Inside(Alcatel_Lucent.$London:$Visual$Editions,$2014.$
O$Debord,$Guy.$Society(of(the(Spectacle.$New$York,$NY:$Zone$Books,$1994.$
O$Easterling,$Keller.$Enduring(Innocence:(Global(Architecture(and(its(Political(
Masquerades.$Cambridge,$MA:$The$MIT$Press,$2005.$
O$Focillon,$Henri.$The(Life(of(Forms(in(Art.$New$York:$Zone$Books;$Revised$edition,$1992.$
O$Gombrich,$Ernst.$A(Little(History(of(the(World.$New$Haven:$Yale$University$Press;$New$
Edition,$2008.$
O$Hatherley,$Owen.(A(Guide(to(the(New(Ruins(of(Great(Britain.$London:$Verso$Book,$
2010.$

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O$Hoffman,$Abbie,$Izak$Haber,$and$Bert$Cohen.$Steal(This(Book.$New$York:$Four$Walls$
Eight$Windows,$1996.$
O$Joyce,$James.$Ulysses.$New$York,$NY:$Modern$Library,$1992.$
O$Kundera,$Milan.$The(Curtain.$New$York:$HarperCollins$Publishers,$2006.$
O$McLuhan,$Marshall$and$Quentin$Fiore.$The(Medium(is(the(Massage:(An(Inventory(of(
Effects.$Harmondsworth:$Penguin,$1967.$
O$Rosenau,$Helen.$The(Ideal(City.$London:$Methuen$1983.$
O$Schning,$Pascal.$Manifesto(For(A(Cinematic(Architecture.$London:$AA$Publications,$
2006.$
O$Sennett,$Richard.$The(Craftsman.$New$Haven:$Yale$University$Press,$2008.$
O$Sinclair,$Iain.$London(Orbital.$London:$Penguin,$2003.$
O$Smithson,$Robert$and$Jack$D$Flam.$Robert(Smithson:(The(Collected(Writings.$Berkeley:$
University$of$California$Press,$1996.$
O$ Sontag,$ Susan.$ Against( Interpretation( and( Other( Essays.$ London:$ Penguin$ Classics,$
2009.$
O$Steyerl,$Hito.$The(Wretched(of(the(Screen.$Berlin:$Sternberg$Press,$2012.$
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FICTION!
O$Adams,$Douglas.$The(Hitchhikers(Guide(to(the(Galaxy.$New$York:$Harmony$Books,$
1980.$
O$Ballard,$J.$G.$High(Rise.$London:$Jonathan$Cape,$1975.$
O$Blake,$William$and$Andrew$Lincoln.$Songs(of(Innocence(&(Of(Experience.$London:$Tate,$
2006.$
O$Borges,$Jorge$Luis$and$Andrew$Hurley.$Fictions.$London:$Penguin,$2000.$
O$Carson,$Anne.$If(Not:(Winter:(Fragments(of(Sappho.$Montreal,$Canada:$Knopf$Canada,$
2003.$
O$DeLillo,$Don.$Cosmopolis.$New$York,$NY:$Scribner,$2003.$
O$DeLillo,$Don.$Zero(K.$New$York,$NY:$Scribner,$2016.$
O$Dickens,$Charles.$A(Tale(of(Two(Cities.$New$York:$Penguin$Books,$2010.$

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O$Gibson,$William.$Neuromancer.$New$York:$Penguin$Publishing$Group,$2000.$
O$Marcus,$Ben.$The(Age(of(Wire(and(String.$London:$Granta,$2003.$
O$McGuire,$Richard.$Here.(London:$Hamish$Hamilton,$2014.$
O$Orwell,$George.$Nineteen(Eighty_Four.$New$York:$Harcourt,$Brace$and$Co.,$1949.$
O$Perec,$Georges$and$John$Sturrock.$Species(of(Spaces(and(Other(Pieces.$London:$
Penguin$Books,$1997.$
O$Serafini,$Luigi.$Codex(Seraphinianus.$New$York:$Abbeville$Press,$1983$
O$Shakespeare,$William,$Stanley$Wells,$and$Gary$Taylor.$$William(Shakespeare,(The(
Complete(Works.(Oxford,$Oxfordshire:$Clarendon$Press,$1986.$
O$Wallace,$David$Foster.$Infinite(Jest.$Boston:$Little,$Brown$and$Company,$1996.$
O$Woolf,$Virginia.$A(Room(of(Ones(Own.$New$York:$Harcourt,$Brace,$Jovanovich,$1957.$$
!
FILMS!!
O$Lang,$Fritz.$Metropolis$(1927)$
O$Chaplin,$Charlie.$Modern$Times$(1936)$
O$Welles,$Orson.$Citizen$Kane$(1941)$
O$Godard,$JeanOLuc.$Breathless$(1960)$$
O$Fellini,$Federico.$8$$(1963)$
O$Antonioni,$Michelangelo.$Blowup$(1966)$$
O$Truffaut,$Franois.$Fahrenheit$451$(1966)$$
O$Tati,$Jacques.$Playtime$(1967)$
O$Kubrick,$Stanley.$A$Clockwork$Orange$(1971)$
O$Tarkovsky,$Andrei.$Stalker$(1979)$
O$Herzog,$Werner.$Fitzcarraldo$(1982)$
O$Jarmusch,$Jim.$Stranger$than$Paradise$(1984)$
O$Wenders,$Wim.$Paris,$Texas$(1984)$
O$Gilliam,$Terry.$Brazil$(1985)$
O$Greenaway,$Peter.$The$Belly$of$an$Architect$(1987)$
O$Tarantino,$Quentin.$Pulp$Fiction$(1994)$

14$

AAFY$1617$PRESENT$&$ARCHITECTURE$

GETTING$READY$

!
O$Weir,$Peter.$The$Truman$Show$(1998)$
O$Lynch,$David.$The$Straight$Story$(1999)$
O$Miyazaki,$Hayao.$Spirited$Away$(2001)$$
O$von$Trier,$Lars.$Dogville$(2003)$
O$Coen$Brothers.$No$Country$for$Old$Men$(2007)$
O$Lanthimos,$Yorgos.$Dogtooth$(2010)$
O$Anderson,$West.$The$Grand$Budapest$Hotel$(2014)$
O$Godard,$JeanOLuc.$Goodbye$to$Language$(2014)$$
O$Lanthimos,$Yorgos.$The$Lobster$(2015)$
O$Vinterberg,$Thomas.$The$Commune$(2016)$
$
LINKS$
*$Places$you$must$visit$in$London$
O$Barbican:$http://www.barbican.org.uk/$
O$British$Library:$http://www.bl.uk/$
O$British$Museum:$http://www.britishmuseum.org/$
O$Building$Centre:$http://www.buildingcentre.co.uk/$
O$Institute$of$Contemporary$Arts$(ICA):$https://www.ica.org.uk/$
O$Royal$Academy$of$Arts$(RA):$https://www.royalacademy.org.uk/$
O$Royal$Institute$of$British$Architects$(RIBA):$https://www.architecture.com$
O$Tate$Galleries:$http://www.tate.org.uk/$
O$Victoria$&$Albert$Museum:$http://www.vam.ac.uk/$
O$Whitechapel$Gallery:$http://www.whitechapelgallery.org/$
$
*$Places$you$will$need$in$London$
O$London$Graphic$Centre:$http://www.londongraphics.co.uk/$
O$The$Model$Shop:$http://modelshop.co.uk/$
O$Foyles$Bookshop:$http://www.foyles.co.uk/$
$

15$

20160810$