learning architecture

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a PhD in live projects and architectural education

A flying pigeon interfering

On Wednesday I began the long journey home. For three short days I’d been in the south-west and south of England meeting with academics at schools of architecture to talk about live projects and architectural education. I began this research trip – which covered six meetings – with an early morning flight from Glasgow to Cardiff. The journey home would be much slower, this time by train. After my last interview in Portsmouth, I turned north and headed for home, all the way from the south coast towards the central belt of Scotland.

For the first leg of my journey, the cheapest train ticket to London was also on the slowest train. So I had some time to begin transcribing the interviews I’d conducted in the previous days. Upon arrival at Victoria and with a couple of hours in hand before my connection from Euston, I skirted around the livelier distractions of London town and went directly to Tate Britain. Until 16 January 2011 you can catch the excellent exhibition on Eadweard Muybridge here, and I strongly recommend that you do so. As you may be aware, my previous research investigated the intersection between the sequential art of comics and architecture. Were it not for William Hogarth, you might say that Muybridge created the comic strip: a sequence of frozen moments, each presented graphically in a sequence that could read, releasing the narrative into a user-controlled recollection.

Most striking for me was this print,  Head-Spring, a flying pigeon interfering, exhibited courtesy of the Corcoran Gallery of Art in Washington, DC (who, it seems, have sadly not permitted a postcard or poster reproduction to be sold by the Tate). Muybridge set out to capture, from two angles, the human form as it performed a head spring. As part of a long lineage of such sequential photographs on show at Tate, it is nothing special, but for the interruption in the images of a pigeon meandering and then flying through the set naturally captivates the viewer. The print has become not only a sequence of a human but also a bird in flight. No matter how hard you try to establish the scientific conditions for your research, something fuzzy from the real world will always creep in. And it will usually surprise you with something quite beautiful.

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Unique art work involving shipping containers

You have less than a week to get yourself to Glasgow if you want to catch Christoph Büchel’s mildly controversial art installation Last Man Out Turn Off Lights, which is on show at the Tramway until Sunday. I describe it as ‘mildly controversial’ because there are will always be vocal critics (generally Daily Mail readers or people who find time to phone in to Radio 5 Live) who disagree with a six figure sum being spent on a temporary piece of installation art. If you don’t fit into either of those groups, excuse the distraction.

The Tramway is a great space for performances and visual art, but I’m under no allusions as to the straightened circumstances in which it is now operating. The Tramway is unique in Glasgow as an arts and performance venue that can pull in world class international artists. Nowhere else in the city has quite the same international reputation or appeal as a venue, and as I picked my way through Büchel’s piece on Sunday I was struggling to think of another venue in the city that could have accommodation Last Man Out so well. When the work at the Tramway is good, it’s very good (such as Forced Entertainment’s Spectacular in 2008 or Jan Fabre’s Orgy of Tolerance in 2009) but when it’s bad, it’s very bad (the insanely expensive and insanely awful Marat/Sade, back in 2008). Last Man Out was a reassurance that the Tramway hasn’t lost its expertise at commissioning great international work.

Photography is not permitted in the exhibit, and Googling for images hasn’t produced anything worthwhile for this post. One of Scotland’s listings magazines gave it the fundamentally accurate but somewhat narrow summary that has given this blog entry its title. It is a strange and beguiling piece, one that does indeed involve a number of shipping containers, but which also involves the airframe of a former British Airways Avro regional jet, apparently re-assembled for crash investigation after some kind of accident.

Entering through a series of shipping containers adapted to resemble prison visiting rooms, one discovers a series of dank, clammy and filthy recreations of a jail. A dormitory in here; utilitarian shower rooms in there; disorganised offices in another. The prison spaces, apparently furnished and decorated using objects and items from a decommissioned facility on the Isle of Man, surround the ruptured, destroyed and painstakingly re-assembled aircraft. All around it are the remnants of the plane and its passengers: partially burnt clothes, toys, books and luggage; a toy plane; rows of airliner seats and misplaced components such as the toilet or bulkhead door.

If you’re the kind of spectator who demands meaning in contemporary art, you may be frustrated by Last Man Out. But you won’t be short of material to fuel your curiosity. Why have the a prison and an aircraft crash investigation been re-created alongside one another? Why the appropriation of such diverse materials and objects?

Last Man Out Turn Off Lights runs until Sunday 18 July 2010. Enclosed footwear only, no under-16s.

Addendum: G-BXAR probably visited Ronaldsway Airport on the Isle of Man some time during it’s operational life with British Airways Cityflyer and British Airways Connect. It was written off following a hard landing at London City Airport in 2009. No-one was injured. But why do I feel compelled to re-assure you of those details?

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Field: Let loose the loganberries of war. No really, you can let them loose now

Six months ago I plugged an article co-written by myself and Tom Warren entitled Let loose the Loganberries of war: making noise and occupying space in Govanhill, which had just been ‘published’ in volume 3 number 1 of the peer-reviewed journal Field. Due to technical difficulties, it hasn’t been available for download until now. (pdf)

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Field: Let loose the loganberries of war

An article co-written by myself and Tom Warren entitled Let loose the Loganberries of war: making noise and occupying space in Govanhill has just been published in volume 3 number 1 of the peer-reviewed journal Field. It’ll be available for download later this month.

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About the project

learning architecture is an academic blog of James Benedict Brown, previously a doctoral candidate in architectural pedagogy at the School of Planning, Architecture and Civil Engineering at Queen's University Belfast, Northern Ireland. James passed his viva in September 2012 and graduated the following December.


About the author

James Benedict Brown has worked and studied in England, Northern Ireland, France and Canada. Following the completion of his PhD at QUB, he was appointed Lecturer in Architecture at Norwich University of the Arts. A short bio is here.


About the supervisors

The project is supervised by Prof. Ruth Morrow and Keith McAllister. Prior to his appointment at Qatar University in 2009, Prof. Ashraf Salama also supervised the project.


Bibliography

Click here for the bibliography to date.


Words

Click here for a selection of peer-reviewed and non-peer-reviewed writing.


Glossary

Click here for a glossary-in-progress of key terms used in the project.


Conference diary

Conferences and seminars of interest to the project.


Note

All images are used for illustrative purposes only, and the copyright remains with the artist and/or creator. Please contact me if I have misappropriated an image or incorrectly credited it.


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