with thanks to Leslaw Skrzypiec, Elisa Commanay, Colin Prendergast,
Mariusz Stawiarski, Gregory Korcel, Tamir Aharoni, Maciej Korak, Sinan
Asdar, Kacper Stawiarski, Ebere Nwosu, Ilia Var, Hiroe Shigemitsu,
Noisydog, Spike Chen, Damnoen Techamai, Syed Waji, Daniel Koruma, Yoav
Carmon, Urzula Paszuk, Martynas Vinksna, Mykola Turyanskyy, Leo Sun
with thanks to Quentin Martin, Yijun Huang, Sabrina Blakstad, Photios
Demetriou, Leslaw Skrzypiec, Kacper Stawiarski, Ebere Nwosu, Hiroe
Shigemitsu, Daniel Koruma, Roberta Jenkins, Syed Waji, Chonk, Roman and
Philip(Dip9) ,Tamir Aharoni, Leo (Dip14), Ilia Var, Zhuo Chen, Damnoen
Techamai, Sharif and Khalad (Dip13)
Perhaps
one should try to imagine a glass exchange … the Farnsworth House with its walls
in stained glass and Kings College Chapel with Mies’s planar glazing .
Did those
impoverished modernists only see glass as a way of erasing architecture .. to
reduce the building to eventually little more than a reflection and with mirror glass a literal reflection .
Others
knowing that life is just a cloud wanted architecture to be more that a mist on
an autumn morning . Something to resist
the nature of a fleeting life , architecture as a form of resistance ?
Our
screens shine at us , yet the colours are opaque .
But
the sun shines on us through the glass .
The
stained glass window of the cathedral does not allow us to look out it
suggests we look in wards . The colours of the glass have complex
symbolic
meanings . They can be read in a very literal sense and their colours unlike
the colors on our screens have a very physical presence .
Can
we imagine the windows of the AA in stained glass then imagine them dissolved by planar glazing ? Or constantly changing coulored glass
images on the occupants projected by the sun on the AA's white walls ?
The colurs of the glass compete with the colours on your screen b ut the one shines on you and the other at you ?
with thanks to Samy
Hedin, Rozhana Azra, Leslaw Skrzypiec, Luisa Pires, Kacper
Stawiarski, Ebere Nwosu, Hiroe Shigemitsu, Daniel Koruma, Yoav
Carmon, Daria Nepop, Danya Gittler, Sabrina Blakstad, Gary Woodley,
Syed Waji, Natalia Charogianni and Aretousa, Ziyi Yaun (dip7), Charles Dib, Roman,Roman&Ting (dip9), Daphna (ex16 3rd year)
Dear Mothership,
I
have sent you a Leaf Letter…. and it should be on its way to you. I
originally planned to send it via Postman Robin, as Little Grey
Rabbit, Hare and Squirrel always do. But, not finding any good
oak-leaves, I am using plane leaves, which seem too big and unwieldy for
Postman Robin to deliver. So, as you can see, I put it in my high
street post box. I trust the Royal Mail will deliver it
to you safely?
With thanks to Luisa Pires, Shin Egashira, Hiroaki Yamone, Riad Yassine,
Leslaw Skrzypiec, Kacper Stawiarski, Ebere Nwosu, Hiroe Shigemitsu,
Daniel Koruma, Hannah from SED Graduate Programme,
Sheer Gritzerstein, Yoav Carmon, Shatanik Mandal, Mu from Diploma 4,
Aibee from SED Graduate Programme, George from PHD Programme, Ilia Var,
Aditi from Housing Graduate Programme, Daria Nepop, Tamir Aharoni,
Rozhana Azra, Toby Chai and Dino....
Here is the recording of the rooms. I did it in the bathroom at
Liverpool Street hope it is ok... It is quieter than the station... Let
me know if you want a different recording. Best luisa
with thanks to Toby Chai and Dinosaur, Roberta Jenkins and Ernest,
Rozhana Azra, Natalia Charogianni, Aretousa and Filoumeni, Leslaw
Skrzypiec, Kacper Stawiarski, Damnoen Techamai, Ebere Nwosu, Hiroe
Shigemitsu, Luisa Pires, Daniel Koruma, Maciej Koprak, Anita Pfautsch,
Spike Chen, Michael Wedgwood, Shin Egashira, Dariya Nepop, Ana
Chantarasak, Quentin Martin
I always wondered,
what is the world, what constitutes the world?
LAWuNmothership 08.10.2020
with Ryan Dillon, Sabrina Blakstad,
Gary Woodley
special thanks to Byron Blakeley, Roberta Jenkins
Ebere Nwosu and Hiroe Shigemitsu
As the LAWuN Holiday Pier dissolves the intrepid explorer’s continue on
beneath the ocean towards an unknown destination. The New Machine, The
Submarine sends the InHabitants forward, seeming to understand what it
is to be, “As Above, So
Below”.
special thanks to Byron Blakeley for drawing and text:
the brand new fun palace
thank you to all AA technical and security staff.
lawunmothership@gmail.com
‘The New Fun Palace’
The Machines, good or bad, excepting
every mind from which they draw their power supply, unknowingly from the
human guests on recreation, pictured in Hawaiian shirts and shorts,
holding the gaming chips in hand, excited among the flashing
lights, which entice the players. The creaking wooden planks with the
smell of salt water drifting with the corroding metal wires. They enter
along the wooden pier into a circus of lights, a canopy of beeps,
flashing colours, unveiling The Machines, layered
in such a way to confuse The Inhabitants .The plan to enable access to
as much from every mind, in order to make the new material for the ever
expanding pier, as far into the sea as can be conceived by mechanical
minds.
Designs for the ever expanding pier
are compiled from the collected minds of the Inhabitants and correlated
by The Machines. Using the corroding metal together they make new
structures into the sea with no means to fight the rust, it is
a pointless task with an inevitable end but possessive, a desire for
growth without thought.
Each new Arcade possess new Machines
that can drain different, specific minds in order to replenish itself
and stay alive within the sea. So the Inhabitants drift along the piers
becoming caught by The Machine most suitable.
So far it stretches 9.5 miles into the
Sea with 31 different Arcades, with 3,453 Inhabitants, 24 Buffets, 22
Bars, 4 Hotels and no exits. The Inhabitants are kept, with Oxygen
pumped through the air ways in a labyrinthine layout and laced
with chemicals. The existence is that of a Cruise Ship, The Machines
and surroundings indoctrinate, leaving you unaware of time, place,
setting. Meshed into one great painting of illusion and colour.
As the pier columns erode, crumble and
The Machines fall gently into the Sea, awakening the intoxicated
Inhabitants. It reached too far, it slowly crumbles as the eroded wires
and the ancient wood collapses. Colourful Banners drift into
the sea and token chips are eaten by fish.
All that remains today is the entrance
gate with the logo ‘The New Fun Palace’, with an old man fishing off
the remnants of the pier, catching his dinner.
The AA Files cover was designed by Antonio Lagarto (Nigel’s then partner)
not Nigel
You are right about Alvin’s view of council David
I
don’t think its fair to say he ‘hated’ Leon Krier – I don’t think he
hated anyone within the AA – he reserved his venom for Council.
Martin Pawley also wrote about Garbage Housing
Jim Monahan was also super involved with Covent Garden – for a much longer time than Brian
N
...Work in progress always interesting.. And thanks Nicholas , I tend to
shoot from the hip and am often in trouble for this .but I think your
comments add a lot .. .. I owe a lot to your father , he told me I was
unemployable but employed me anyway ! The Pawley book I was trying to
remember was 'Terminal Architecture ' .. Great title ! ....
D
....Antonio Lagarto was charged with designing the first issue, through vicinity or
otherwise, my article on behaviour in nightclubs was the first story in
Issue 1: New Clubs at Large. This drawing was part of a pertinent
project, The Night lives of the Artists, which was set theoretically
speaking in the Piazzale degli Uffizi. I’d have to look back at what
illustrated my story but it could very well have included this one and
it might have made a better cover illustration than what actually got
printed.
Could have, would have. I’m proud to have the first story ever in Files.
