AAFY 1617 PRESENT & ARCHITECTURE 20160926 1
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AA FIRST YEAR 2016-17 CONTENTS
1. AAFY PROSPECTUS ................................................................................................... 3
2. AAFY BRIEFS TIMELINE. PRESENT & ARCHITECTURE .................................................. 7
3. AAFY TERM 1 BRIEF 1. SPATIAL CONSTRUCTS ......................................................... 10
4. AAFY CALENDAR ..................................................................................................... 19
5. AAFY BIBLIOGRAPHY FOR TERM 1 .......................................................................... 30
6. AAFY CONSTRUCT YOUR LIBRARY: ARCHITECTURE AND BEYOND ........................... 31
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1. AAFY PROSPECTUS
First Year at the AA is the initial exposure to the five-year 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 re-invent architecture’s enduring topics and
questions while simultaneously searching the current world for accidents and shifts
within the discipline.
The First Year is characterised by studio-based 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.
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 year-long portfolio of work, informed by various
modes of writing, designing and arguing. In the First Year, reacting matters more
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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.
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.
Present & Architecture
‘The world fascinates me’ – Andy Warhol, 1964
‘…To 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.
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.
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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Programme Head
Monia De Marchi
Studio Master
Shany Barath
Pol Castello Esteve
John Ng
Studio Tutor
Alexandra Vougia
Visiting lecturers to be confirmed
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.
Shany Barath is a founding partner of the architecture firm ShaGa Studio. She
studied at TU Delft and the AA School, where she teaches in the DRL graduate
programme and Media Studies department. She directs the Tel Aviv AA Visiting
School.
Pol Esteve is an architect who trained at ETSA Barcelona and at the AA School. He is
co-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.
John Ng studied architecture at the University of Bath the AA School where he has
taught since 2011. He founded ELSEWHERE and practices architecture in London.
Alexandra Vougia studied architecture in Thessaloniki, Greece. She holds the MSc
AAD from Columbia University’s GSAPP and a PhD from the AA School. She has
worked as an architect in New York and Athens and has been teaching at the AA
School since 2012.
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2. AAFY BRIEFS TIMELINE. PRESENT & ARCHITECTURE
Term 1 (12 weeks): SEARCH: SPACE, HABITAT, SCALE of CITY, PROXIMITIES
o T1B1 (5 w): Search what is visible. SPATIAL CONSTRUCTS XX and XXI.
Format: 5 weeks, group of 2 tutors with groups of 4 students.
Criteria: How to search (direct search: original material). How
to study past references (theory and design of architecture).
How to document, quote, redraw with plans, sections, models.
How to compare different studies (XX and XXI). How to
synthesise information in portfolio. How to work in group
(collaborate, share work).
o T1B2 (6 w): Search what is hidden. ALTERNATIVE WAYS OF LIVING IN
PROXIMITIES NOW.
Format: 6 weeks, 1 tutor with 15 students in conversation with
another tutor.
Criteria: How to search (direct search: original material). How
to study texts and works from wider cultures (beyond
architecture). How to document, quote, redraw with plans,
sections, models. How to compare different studies. How to
communicate information with notations, diagrams, texts,
models, + other medium. How to synthesise information in a
portfolio. How to work independently with processes by
discussing and adapting works and positions.
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Term 2 (11 weeks): REINVENT: PROGRAMS, HABITAT, SCALE of TERRITORY,
EXTENSIONS
o T2B1 (3 w): Reinvent PROGRAMMING and SPATIAL RELATIONSHIPS.
Format: 3 week, group of 2 tutors with groups of 3/4 students.
Criteria: How to relate theoretical texts of space and program
with built spaces. How to search and document. How to
requestion and reinvent given material (program and space).
How to compare different studies (iterations). How to visualise
information with notations, diagrams, and models. How to
synthesise information in a portfolio. How to work in group
(collaborate, share work).
o T2B2 (6 w): What if … it could be happening. Reinvent COMPLEXITIES
OF LIVING CONDITIONS IN AN EXTENDED TERRITORY
Format: 6 weeks, 1 tutor with 15 students in conversation with
another tutor or external.
Criteria: How to use context (physical site). How to relate
different types of given material (references from wider
cultures + site + space). How to translate material into a design
proposal. How to reinvent complex living conditions. How to
visualise information with multiple types of medium. How to
synthesise information in a portfolio. How to design a project
that answers the brief. How to work both independently and
in conversation within the group. How to construct a position
and an argument in relation to the brief.
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Term 3 (9 weeks): IMAGINE: SCENARIOS, MODES OF LIFE, ANY FORM OF
COMMUNICATION.
o T3B1 (4 w): What now… Imagine SCENARIOS OF MODES OF LIFE.
Format: 5 weeks, 1 tutor with 15 students in conversation with
tutor or external.
Criteria: How to define individual values and criteria to
evaluate design decisions. How to relate and react to the brief.
How to select ways of visually communicating ideas (the work
speaks). How to challenge communication and visualisation of
a scenario. How to synthesise information in a portfolio. How
to work both independently and in conversation within the
group. How to use the work to construct a position in relation
to the brief (the work speaks).
o T3B2 (2 w): What now… Installation for PRESENT MODES OF LIFE.
Format: 2 weeks, 2 tutors with students in group.
Criteria: How to address constrains of a brief. How to find a
solution to a set of parameters. How to translate what you
imagine, search, and invent into something that can be built.
How to creatively compromise. How to work in a team.
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3. AAFY TERM 1 BRIEF 1. SPATIAL CONSTRUCTS
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TERM 1 BRIEF 1 (5 weeks: Week 1 to 5). SPATIAL CONSTRUCTS
T1B1 (5 w): Search what is visible. SPATIAL CONSTRUCTS XX and XXI.
1. Format: 5 weeks, group of 2 tutors with groups of 4 students.
2. Criteria: How to search (direct search: original material). How to study
past references (theory and design of architecture). How to document,
quote, redraw with plans, sections, models. How to compare different
studies (XX and XXI). How to synthesise information in portfolio. How to
work in group (collaborate, share work).
WHAT WE DO & WHY WE DO IT: The XX century is characterised by architects
thinking and reinventing new ideas about space by putting forward alternative ways
of searching. Where did architect search? How did they search? How did they
translate their discoveries into ideas and into spatial inventions?
The architects that we will study are some of the key figures in the architecture
discipline because of their ability to reinvent architectural concepts in relation to
their own present. Search is a project in itself: what do you look for, how do you
look, will define your own particular discoveries. Your challenge is to learn how to
search in unexpected manner, constructing your own way of looking is an essential
project that would allow you to update and reinvent architectural concepts against
your own present time.
With this initial brief, we will study and pay attention on how those architects
searched and how they translated their discoveries into three particular works: the
written text (manifestoes, texts, books), the unbuilt projects (paper projects,
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drawings, fictional speculations, notations, prototypes), and the built architecture
(buildings).
In parallel the HTS course will cover up some of those figures, texts, projects and
buildings.
We will then extend our search, by looking at our own present. We will look at our
own present, by focusing in particular on buildings built from 2001 until now that
show us particular spatial condition that are symptomatic of the way we live now.
Those case studies are not necessarily the result of specific written concepts by
architectures but they are more the result of an overlay of forces and settings that
are social, economical, and cultural.
HOW WE DO IT:
The briefs are structured into three parts:
Part 1 (week 1, 2): search, redraw, speculate - XX case study
Part 2 (week 3, 4): search, redraw - XXI case study
Part 3 (week 5): synthesise the information
Part 1 (week 1, 2): search, redraw, speculate - XX case study
For the first two weeks study a specific SPATIAL THEORY and see it applied to an
UNBUILT PROJECT and to a BUILT PROJECT.
With this brief, you are expected to learn how to search for material, how to
synthesise information that you find, and how to relate and connect ideas to spatial
forms.
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* For the text: study the text, where was it written? When? With who? Who were
the key figures? What is the context at that time? What were other key events of
that period? Can you find photos, films, documents that contextualise the text in
that specific moment and place? What was the physical and social context of that
time?
* For the unbuilt project: Find and list the sources. Where are the original drawings,
books, sketches, models? Can you go to see original drawings, collages, models in
libraries and archives? List the format of the original materials (drawings, collages,
…). How big are they? What are they made off? How long did it take to make them?
Where are they know? Where have they been until now? Where have they been
published and when? What are articles, and other works that are related? What is
the format and where are the originals? What was the physical and social context of
that time?
* For the built project: Find and list the sources. Where are the originals drawings,
models, photos, collages? Search online catalogues of libraries, museums, and
archives. Can you go to visit the building? What are your impressions? Can you
notate what you experience? Can you sketch and notate spatial qualities and
relations? If you cannot visit the building, can you search for films, videos, and see
the spatial relations? How is the building used now? What was the physical and
social context of that time?
T1 B1 Part 1 Jury: On Monday 10th October (week 3) you will submit your work as a
series of A1 landscape boards collecting in a descriptive manner: text, unbuilt project
and building. You tutors will give you a visual reference for you to follow.
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Within your A1 you will have: one redraw plan of the built case study, one redraw
section of the built case study, and one notation of the paper project (your tutors
will guide you on which type of notations could be more relevant).
It is important that the search and use of found material is done in an accurate and
precise manner with all the right quotes, notations, and information.
Each group of students will have one architect (or movement) to study given from
the following list – where T for Text, P for Unbuilt Project, B for Built Project:
01 ADOLF LOOS: Looking lifestyles in Vienna
T: Adolf Loos, “Ornament and Crime,” in Ornament and Crime: Selected Essays
(Riverside, CA: Ariadne Press, 1998), 167-176. [Originally written in 1908]
P: Adolf Loos, Chicago Tribune, competition entry (1922).
You will need to find the locations of the original material that is related to your case
studies: i.e. Original drawings at the Library of Congress Prints and Photographs
Division Washington, D.C. 20540 USA: http://www.loc.gov/pictures/item/2005680820/
B: Adolf Loos, Villa Müller, Prague (1929-30).
02 LE CORBUSIER: Looking at the present world (technologies, editing,
communication)
T: Le Corbusier and Pierre Jeanneret, “Five Points towards a New Architecture,” in
Programs and Manifestoes on 20th-century Architecture, ed. Ulrich Conrads (London:
Lund Humphries, 1970), 99-101. [Originally published in 1926]
P: Le Corbusier, Maison Dom-Ino (1914).
B: Le Corbusier, Villa La Roche-Jeanneret, Paris (1923).
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03 LE CORBUSIER: (Session 02 and 03 can be combined)
T: Le Corbusier, “Conclusions - Main Points of Doctrine,” in The Athens Charter (New
York, NY: Grossman Publishers, 1973), 91-105. [Originally produced in 1933 and
published by Le Corbusier in 1943]
P: Le Corbusier, Plan Obus, Algiers (1930).
B: Le Corbusier, Unité d'Habitation, Marseilles (1946-52).
04 TEAM 10: Looking at the present world (architect as collaborative practice)
T: Jacob Bakema, Aldo van Eyck, H. P. Daniel van Ginkel, Hans Hovens-Greve, Peter
Smithson and John Voelker, “Doorn Manifesto,” in Architecture culture, 1943-1968: a
documentary anthology, ed. Joan Ockman (New York, NY: Rizzoli, 1993), 181-183.
[Originally published in 1954]
P: Alison & Peter Smithson, “House of the Future” in Daily Mail’s Ideal Home
Exhibition (1956).
B: Alison & Peter Smithson, Robin Hood Gardens, London (1963-1972).
05 ROBERT VENTURI: Looking at built (history, Rome)
T: Robert Venturi, “Introduction” and “Nonstraightforward Architecture: a Gentle
Manifesto,” in Complexity and Contradiction in Architecture, 2nd ed. (New York, NY:
Museum of Modern Art; Boston, MA: distributed by New York Graphic Society,
1977), 9-12 and 16. [Originally published in 1966]
P: Robert Venturi and Denise Scott Brown, National College Football Hall of Fame
Competition (1967).
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B: Robert Venturi and John Rauch, Vanna Venturi House, Chestnut Hill, Pennsylvania
(1962).
06 CEDRIC PRICE: Looking at present as un-planned London
T: Cedric Price, Rayner Banham, Paul Barker and Peter Hall, “Non-Plan: an
Experiment in Freedom,” in Non-Plan: Essays on Freedom, Participation and Change
in Modern Architecture and Urbanism, ed. Jonathan Hughes and Simon Sadler
(London: Architectural Press, 2000), 13-21. [Originally published in New Society 338
(20 March 1969): 435-443]
P: Cedric Price, Fun Palace, London (1964).
B: Renzo Piano and Richard Rogers, Centre Georges Pompidou, Paris (1971-77).
07 REM KOOLHAAS: Looking at city (Berlin wall, New York skyscraper)
T: Rem Koolhaas, “Definitive Instability: The Downtown Athletic Club,” in Delirious
New York: a Retroactive Manifesto for Manhattan (New York, NY: Monacelli Press,
1994), 152-158. [Originally published in 1978]
P: Rem Koolhaas and Madelon Vriesendorp, The City of the Captive Globe Project,
New York (1972).
B: Office for Metropolitan Architecture, Kunsthal, Rotterdam (1987-92).
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Part 2 (week 3, 4): search, redraw - XXI case study
From Monday 10th October (week 3), we will look for SPATIAL CONSTRUCTS that are
symptomatic of the XXI century. Similar to the first searches, you will need to study
and redraw spatial qualities of one case study. Your tutor will select which case study
is more relevant as continuation to Part 1.
1. Smart city: Masdar City (2006-ongoing).
2. Corporate campus: Apple Campus 2 (2013-ongoing)
3. Tall Buildings & Transport Hubs: The Shard (2009-2012)
4. Geneva Freeport (http://www.nytimes.com/2012/07/22/business/swiss-
freeports-are-home-for-a-growing-treasury-of-art.html)
5. Data centre: Alcatel Lucent (https://www.amazon.co.uk/Kitten-Clone-Alcatel-
Lucent-Writers-Residence/dp/0956569285)
6. Foundation (fashion and culture): Louis Vuitton Foundation (2006-2014),
Fondazione Prada (2008 - ongoing)
7. Pied-a-terre (NY): ALEX look for article reference
8. Pencil tower: 432 Park Avenue (2011-2015)
9. Hotel for creative (user specific typologies): London
10. Defragmented factory between countries: Airbus in Toulouse
11. Large scale laboratory (particle accelerator)
12. Mega basements (London)
13. More to come
With this series of case studies, you will be searching and notating for spatial
relations between spaces, programs, and between the building and its context. You
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will be searching and notating key information that caused specific spatial qualities.
For some case studies there is the possibility that there are not available
architectural drawings, you will need to use than written information, photos, and
found material to speculate and notate on what you think the spaces may be. Your
tutor will guide you with some reference on how to translate information into
architectural notations.
On Monday 24th October (week 5) you will present to your tutors the work as a
series of A1.
Part 3 (week 5): synthesise the information
From Monday 24th October (week 5) to Monday 31st October (week 6), you will
think and plan on how to synthesise information into one A1 by showing
relationships and commonalities between part 1 and part 2.
Term 1 Brief 1 JURY: On Monday 31st October (week 6) show and present in 5
minutes your A1 synthesis. Bring also all your A1 from Part 1 and Part 2.
ESSENTAIL READING:
Study the readings, drawings and material given for each case study, search for more
independently.
Learn how to read and draw architectural drawings by studying the book: Zell, Mo.
The Architectural Drawing Course: Understand the Principles and Master the
Practices. London: Thames and Hudson, 2008. Search more in the library for books
on architectural representations and notations.
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4. AAFY CALENDAR
2016 – 2017 TERM DATES
INTRODUCTION WEEK: Monday 19th September to Friday 23rd September 2016
(All NEW students)
Term 1: 2016
Monday 26th September to Friday 16th December 2016 (12 Weeks)
Student Vacation: Saturday 17th December to Sunday 8th January inclusive
AA Premises Closed: Saturday 17th December to Monday 2nd January inclusive
Term 2: 2017
Monday 9th January to Friday 24th March 2017 (11 Weeks)
Student Vacation: Saturday 25th March to Sunday 23rd April inclusive
AA Premises Closed: Saturday 1st April to Monday 17th April inclusive
Good Friday: 14th April
Easter Monday: 17th April
Term 3: 2017
Monday 24th April to Friday 23rd June 2017 (9 Weeks)
Bank Holiday: Monday 1st May (Week 2) AA Premises Closed
Bank Holiday: Monday 29th May (Week 6) AA Premises Closed
Summer 2017
AA Premises Closed: Saturday 19th to Monday 28th August inclusive
Bank Holiday: Monday 28th August
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2016 – 2017 WEEKLY CALENDAR ACADEMIC YEAR COMMENCES
Introduction Week 2016 Monday 19th September to Friday 23rd September 2016
Monday 19th September Orientation for NEW students
Tuesday 20th September Registration for NEW students
Wednesday 21st September
Thursday 22nd September
Friday 23rd September Delivery of Undergraduate Programme Guides
(on-line)
Picnic for NEW students
TERM 1
Term 1 (12 Weeks) AUTUMN
Monday 26th September – Friday 16th December 2016
Term 1 WEEK 1 Monday 26th September to Friday 30th September 2016
Term 1 Brief 1 (1 of 5 weeks)
Monday 26th September 11.00-12.00, Introduction First Year Studio
12.00-13.30, Presentation Academic Year and Term 1
13.30-14.30, Lunch Break
14.30-15.30, Studio Induction
10.00-18.00, Diploma Presentations (all day)
Tuesday 27th September 10.00-18.00, Intermediate Presentations (all day)
Wednesday 28th September 15.00-16.00, Term 1 Brief 1 Presentation
Studio work
Thursday 29th September Studio work
Friday 30th September Complementary Studies Introductions/Registration:
12.30, Media Studies 1st Year
18.00, Exhibition Opening
Studio work
Term 1 WEEK 2 Monday 3rd October to Friday 7th October 2016
Term 1 Brief 1 (2 of 5 weeks)
Term 1 Undergraduate Complementary Studies commence:
Monday 3rd October Studio work
Time TBC, Introduction to Technical Drawing
Workshop
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Tuesday 4th October HTS 1st Year (am: 1 of 7)
MS 1st Year (pm: 1 of 8)
Wednesday 5th October Studio work
Thursday 6th October TS 1st Year (am and pm: 1 of 7)
Friday 7th October Studio work
Term 1 WEEK 3 Monday 10th October to Friday 14th October 2016
Term 1 Brief 1 (3 of 5 weeks)
Monday 10th October 14.00-14.30, Jury set up
14.30-16.30, Term 1 Brief 1 Silent Jury
16.30-15.00, Presentation Term 1 Brief 1 Part 2
Tuesday 11th October HTS 1st Year (am: 2 of 7)
MS 1st Year (pm: 2 of 8)
Wednesday 12th October Studio work
Thursday 13th October TS 1st Year (am and pm: 2 of 7)
Friday 14th October Studio work
Cedric Price Event
Term 1 WEEK 4 Monday 17th October to Friday 21st October 2016
Term 1 Brief 1 (4 of 5 weeks)
Monday 17th October Director/Foundation & First Year Student Meeting
Studio work
Tuesday 18th October HTS 1st Year (am: 3 of 7)
MS 1st Year (pm: 3 of 8)
Wednesday 19th October Studio work
Thursday 20th October TS 1st Year (am and pm: 3 of 7)
Friday 21st October Foundation/First Year OPEN DAY
Portfolio presentation by former First Year students
Studio work
Term 1 WEEK 5 Monday 24th October to Friday 28th October 2016
Term 1 Brief 1 (5 of 5 weeks)
Monday 24th October Studio work
Tuesday 25th October HTS 1st Year (am: 4 of 7)
MS 1st Year (pm: 4 of 8)
Wednesday 26th October Studio work
Thursday 27th October TS 1st Year (am and pm: 4 of 7)
Friday 28th October Studio work
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Term 1 WEEK 6 Monday 31st October to Friday 4th November 2016
OPEN WEEK – All Undergraduate & Graduate Classes Suspended
AA EVENTS / HOOKE PARK EVENTS
Monday 31st October 14.00-14.30, Jury set up
14.30-18.00, Term 1 Brief 1 Final Jury
Tuesday 1st November Open Week
Wednesday 2nd November Open Week
Thursday 3rd November Open Week
Friday 4th November UNDERGRADUATE OPEN JURY/ OPEN DAY
Term 1 WEEK 7 Monday 7th November to Friday 11th November 2016
Term 1 Brief 2 (1 of 6 weeks)
Monday 7th November 14.30-17.00, Presentation Term 1 Brief 2
Digital Submission Term 1 Brief 1
Tuesday 8th November HTS 1st Year (am: 5 of 7)
MS 1st Year (pm: 5 of 8)
Wednesday 9th November Studio work
Thursday 10th November TS 1st Year (am and pm: 5 of 7)
Friday 11th November Studio work
Term 1 WEEK 8 Monday 14th November to Friday 18th November 2016
Term 1 Brief 2 (2 of 6 weeks)
Monday 14th November Studio work
Tuesday 15th November HTS 1st Year (am: 6 of 7)
MS 1st Year (pm: 6 of 8)
Wednesday 16th November Studio work
Thursday 17th November TS 1st Year (am and pm: 6 of 7)
Friday 18th November Studio work
Term 1 WEEK 9 Monday 21st November to Friday 25th November 2016
Term 1 Brief 2 (3 of 6 weeks)
Term 1 Undergraduate Complementary Studies conclude (7 of 7)
Monday 21st November Studio work
Tuesday 22nd November HTS 1st Year (am: 7 of 7)
MS 1st Year (pm: 7 of 8)
Wednesday 23rd November Studio work
Thursday 24th November TS 1st Year (am and pm: 7 of 7)
Friday 25th November Studio work
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Term 1 WEEK 10 Monday 28th November to Friday 2nd December 2016
Term 1 Brief 2 (4 of 6 weeks)
MS 1st Year concludes (8 of 8)
Monday 28th November Studio work
Tuesday 29th November MS 1st Year (pm: 8 of 8)
Wednesday 30th November Studio work
Thursday 1st December Studio work
Friday 2nd December 10.00-13.00, Term 1 Brief 2 Individual Juries
14.00-17.00, Term 1 Brief 2 Individual Juries
Term 1 WEEK 11 Monday 5th December to Friday 9th December 2016
Term 1 Brief 2 (5 of 6 weeks)
By 1pm Friday 9th December Term 1 Undergraduate Submission Hand-In
Monday 5th December Studio work
Tuesday 6th December Studio work
Wednesday 7th December Studio work
Thursday 8th December Studio work
Friday 9th December By 1pm Term 1 Undergraduate Submission Hand-In
Term 1 WEEK 12 Monday 12th December to Friday 16th December 2016
Term 1 Brief 2 (6 of 6 weeks)
Undergraduate School End of Term Juries
Monday12th December Studio work
Tuesday 13th December Studio work
Wednesday 14th December 10.00-11.00, Jury set up
11.00-16.00, Term 1 Brief 2 OVERALL Jury
16.00-17.00, Term 1 Brief 2 Debrief & end of Term 1
Thursday 15th December Studio work
Friday 16th December Digital Submission Term 1 Brief 2
End of Term 1 / Christmas Party
Student Holiday: Saturday 17th December 2016 to Sunday 8th January 2017 inclusive
AA Premises closed (actual): Saturday 17th December 2015 to Monday 2nd January 2017 inclusive
AA Premises re-open: Tuesday 3rd January 2017
Term 2 commences: Monday 9th January 2017
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TERM 2
Term 2 (11 Weeks) WINTER Monday 9th January – Friday 24th March 2017 Pre start of Term: Wednesday 4th January Term 2 Tuition Fee due Term 2 WEEK 1 Monday 9th January to Friday 13th January 2017 Term 2 Student Registration First Year Progress Reviews Return of Term 1 Complementary Studies Feedback Term 2 Brief 1 (1 of 3 weeks) Term 2 Undergraduate Complementary Studies commence: Monday 9th January Introduction Term 2 and Presentation Term 2 Brief 1 Tuesday 10th January HTS 1st Year (am: 1 of 7)
MS 1st Year (pm: 1 of 8) Wednesday 11th January First Year Progress Reviews Thursday 12th January TS 1st Year (am and pm: 1 of 7) Friday 13th January OPEN DAY Studio work Term 2 WEEK 2 Monday 16th January to Friday 20th January 2017 Term 2 Brief 1 (2 of 3 weeks) Monday 16th January Studio work Tuesday 17th January HTS 1st Year (am: 2 of 7)
MS 1st Year (pm: 2 of 8) Wednesday 18th January Studio work Thursday 19th January TS 1st Year (am and pm: 2 of 7) Friday 20th January Studio work Term 2 WEEK 3 Monday 23rd January to Friday 27th January 2017 Term 2 Brief 1 (3 of 3 weeks) Monday 23rd January Studio work Tuesday 24th January HTS 1st Year (am: 3 of 7)
MS 1st Year (pm: 3 of 8) Wednesday 25th January Studio work Thursday 26th January TS 1st Year (am and pm: 3 of 7) Friday 27th January Term 2 Brief 1 Jury Term 2 WEEK 4 Monday 30th January to Friday 3rd February 2017 Term 2 Brief 2 (1 of 6 weeks) Monday 30th January Presentation Term 2 Brief 2 Digital Submission Term 2 Brief 1
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Tuesday 31st January HTS 1st Year (am: 4 of 7) MS 1st Year (pm: 4 of 8)
Wednesday 1st February Studio work Thursday 2nd February TS 1st Year (am and pm: 4 of 7) Friday 3rd February Studio work Term 2 WEEK 5 Monday 6th February to Friday 10th February 2017 OPEN WEEK – All Graduate & Undergraduate Classes Suspended Term 2 Brief 2 (2 of 6 weeks) Monday 6th February Open Week Tuesday 7th February Open Week Wednesday 8th February Open Week Thursday 9th February Open Week Friday 10th February OPEN JURY Term 2 WEEK 6 Monday 13th February to Friday 17th February 2017 Term 2 Brief 2 (3 of 6 weeks) Monday 13th February Studio work Tuesday 14th February HTS 1st Year (am: 5 of 7)
MS 1st Year (pm: 5 of 8) Wednesday 15th February Studio work Thursday 16th February TS 1st Year (am and pm: 5 of 7) Friday 17th February Studio work Term 2 WEEK 7 Monday 20th February to Friday 24th February 2017 Term 2 Brief 2 (4 of 6 weeks) Monday 20th February Studio work Tuesday 21st February HTS 1st Year (am: 6 of 7)
MS 1st Year (pm: 6 of 8) Wednesday 22nd February Studio work Thursday 23rd February TS 1st Year (am and pm: 6 of 7) Friday 24th February Studio work Term 2 WEEK 8 Monday 27th February to Friday 3rd March 2017 Term 2 Brief 2 (5 of 6 weeks) Term 2 Undergraduate Complementary Studies conclude (7 of 7) Monday 27th February Studio work Tuesday 28th February HTS 1st Year (am: 7 of 7)
MS 1st Year (pm: 7 of 8) Wednesday 1st March Studio work Thursday 2nd March TS 1st Year (am and pm: 7 of 7) Friday 3rd March Studio work
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Term 2 WEEK 9 Monday 6th March to Friday 10th March 2017 Term 2 Brief 2 (6 of 6 weeks) MS 1st Year concludes (8 of 8) Monday 6th March AA BURSARY Applications Open Studio work Tuesday 7th March MS 1st Year (pm: 8 of 8) Wednesday 8th March Term 2 Brief 2 Individual Juries Thursday 9th March Friday 10th March Term 2 Brief 2 Final Jury Term 2 WEEK 10 Monday 13th March to Friday 17th March 2017 Term 2 Brief 2 (7 of 7 weeks) Wed 15th/Thurs 16th/Fri 17th March 1st Year Previews Monday 13th March Studio work Tuesday 14th March Studio work Wednesday 15th March 1st Year Previews Thursday 16th March 1st Year Previews Friday 17th March 1st Year Previews Term 2 WEEK 11 Monday 20th March to Friday 24th March 2017 By 1pm Thursday 23rd March Term 2 Undergraduate Submission Hand-In Monday 20th March Digital Submission Term 2 Brief 2 Tuesday 21st March Wednesday 22nd March Thursday 23rd March By 1pm Term 1 Undergraduate Submission Hand-In
Undergraduate School Student Survey opens Friday 24th March End of Term 2
Saturday 25th March – Wednesday 7th April STUDIO TRIP (destination TBC) Student Vacation: Saturday 25th March to Sunday 23rd April 2017 inclusive AA Premises closed (actual): Saturday 1st April to Tuesday 18th April 2017 inclusive (Good Friday: Friday 14th April 2017) (Easter Monday: Monday 17th April 2017) AA Premises re-open: Wednesday 19th April 2017 Term 3 commences: Monday 24th April 2017
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TERM 3
Term 3 (9 Weeks) SPRING Monday 24th April – Friday 23rd June 2017 Pre start of Term: Wednesday 19th April Term 3 Tuition Fee due No Complementary Studies on Term 3 Term 3 WEEK 1 Monday 24th April to Friday 28th April 2017 Term 3 Student Registration Return of Term 2 Complementary Studies Feedback Term 3 Brief 1 (1 of 4 weeks) Monday 24th April Introduction Term 3 and Presentation Term 3 Brief 1 Tuesday 25th April Studio work Wednesday 26th April Studio work Thursday 27th April Studio work Friday 28th April Studio work Term 3 WEEK 2 Tuesday 2nd May to Friday 5th May 2017 Term 3 Brief 1 (2 of 4 weeks) Monday 1st May Bank Holiday – AA Premises Closed Tuesday 2nd May MS High Pass Jury and Exhibition Studio work Wednesday 3rd May May AA HTS and Sharp Writing Prize Studio work Thursday 4th May Studio work Friday 5th May TS High Pass Exhibition
Studio work Term 3 WEEK 3 Monday 8th May to Friday 12th May 2017 Term 3 Brief 1 (3 of 4 weeks) Monday 8th May Studio work Tuesday 9th May Studio work Wednesday 10th May Studio work Thursday 11th May Studio work Friday 12th May Undergraduate School Student Survey closes
Individual Juries Term 3 WEEK 4 Monday 15th May to Friday 19th May 2017 Undergraduate School Jury Fortnight: (Week 1 / showcasing 3 juries per day) Term 3 Brief 1 (4 of 4 weeks) Monday 15th May Individual Juries
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Tuesday 16th May Studio work Wednesday 17th May Studio work Thursday 18th May Studio work Friday 19th May AA BURSARY Applications Close Term 3 Brief 1 Final Jury Term 3 WEEK 5 Monday 22nd May to Friday 26th May 2017 Undergraduate School Jury Fortnight: (Week 2 / showcasing 3 juries per day) Term 3 Brief 2 (1 of 2 weeks) Monday 22nd May Presentation Term 3 Brief 2
Digital submission Term 3 Brief 1 Tuesday 23rd May Studio work Wednesday 24th May Studio work Thursday 25th May Studio work Friday 26th May Studio work Term 3 WEEK 6 Tuesday 30th May to Friday 2nd June 2017 Term 3 Brief 2 (2 of 2 weeks) Monday 29th May Bank Holiday – AA Premises Closed Tuesday 30th May Studio work Wednesday 31st May Term 2 Brief 2 Jury Thursday 1st June Studio work Friday 2nd June Digital submission Term 3 Brief 2 Term 3 WEEK 7 Monday 5th June to Friday 9th June 2017 Wed 7th/Thurs 8th/ Fri 9th June 1st Year End of Year Reviews Monday 5th June Studio work Tuesday 6th June Studio work Wednesday 7th June 1st Year End of Year Reviews Thursday 8th June 1st Year End of Year Reviews Friday 26th June 1st Year End of Year Reviews Term 3 WEEK 8 Monday 12th June to Friday 16th June 2017 Monday 12th June Exhibition set up Tuesday 13th June Exhibition set up Wednesday 14th June Exhibition set up Thursday 15th June Exhibition set up Friday 16th June Exhibition set up Term 3 WEEK 9 Monday 19th June to Friday 23rd June 2017 Monday 19th June AA Prizes
Exhibition set up
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Tuesday 20th June Exhibition set up Wednesday 21st June Exhibition set up Thursday 22nd June Exhibition set up Friday 23rd June June Graduation Awards Ceremony
Opening of End of Year Exhibition End of Term 3
END OF THE YEAR Student Vacation: Starts Saturday 24th June
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5. AAFY BIBLIOGRAPHY FOR TERM 1
The following readings are related to Term 1 Studio Projects.
1. Ábalos, Iñaki. 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.
Highly recommended – read “Stories of Cities” series on the Guardian Newspaper:
https://www.theguardian.com/cities/series/the-story-of-cities
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6. AAFY CONSTRUCT YOUR LIBRARY: ARCHITECTURE AND BEYOND
These are some essential architecture books and recommended non-architectural
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.
ARCHITECTURE BOOKS
- Banham, Reyner. Scenes in America Deserta. Salt Lake City: Gibbs M. Smith Inc.,
1982.
- Banham, Reyner. A Critic Writes: Essays by Reyner Banham. London: University of
California Press, 1996.
- Basar, Shumon, Douglas Coupland and Hans Ulrich Obrist. The Age of Earthquakes:
a Guide to the Extreme Present. London: Penguin, 2015.
- Basar, Shumon and Stephan Truby, eds. The World of Madelon Vriesendorp:
Paintings, Postcards, Objects, Games. London: AA Publications, 2008.
- Boesiger, Willy, ed. Le Corbusier Oeuvre complète en 8 volumes. Berlin: Birkhaüser
GmbH, 1995.
Note: The Oeuvre is available as separate volumes in the AA Library and online.
- Carpo, Mario. The Alphabet and the Algorithm. Cambridge, MA: The MIT Press,
2011.
- Clark, Roger and Michael Pause. Precedents in Architecture: Analytic Diagrams,
Formative Ideas, and Partis. Hoboken, New Jersey, NJ: John Wiley and Sons, 2005.
- Dallegret, François et al. God & Co: François Dallegret Beyond the Bubble. London:
AA Publications, 2011.
- Evans, Robin. Translations from Drawing to Building and Other Essays. London:
Architectural Association, 1997.
- Hardingham, Samantha. Cedric Price Works 1952 – 2003: A Forward-minded
Retrospective. London: AA Publications, 2016.
- Lerup, Lars. Planned Assaults. The Nofamily House. Love/House, Texas Zero.
Cambridge, MA: The MIT Press, 1987.
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- Loos, Adolf. “Ornament und Verbrechen.” Cahiers d'Aujourd'Hui 5 (1913).
English edition of the essay in: Ornament and Crime: Selected Essays. Riverside, CA:
Ariadne Press, 1998.
- OMA, Rem Koolhaas and Bruce Mau. S, M, L, XL: Small, Medium, Large, Extra-Large.
New York, NY: Monacelli Press, 1995.
- Pope, Albert. Ladders. New York City, NY: Princeton Architectural Press, 2015.
- Tafuri, Manfredo. Theories and History of Architecture. London: Harper & Row
Publishers, 1980.
NON-FICTION
- Ackroyd, Peter. London: The Biography. London: Chatto & Windus, 2003.
- Augé, Marc. Non-Places. London: Verso, 1995.
- Barthes, Roland, Richard Miller, and Richard Howard. The Pleasure of the Text. New
York: Hill and Wang, 1975.
- Barthes, Roland and Annette Lavers. Mythologies. New York, NY: Hill and Wang,
1972.
- Baudrillard, Jean. America. New Ed. London: Verso, 2010.
- Berger, John et al. Ways of Seeing. London: Penguin 1972.
- Berman, Marshall. All That Is Solid Melts Into Air. New York: Simon and Schuster,
1982.
- Bois, Yve-Alain and Krauss, Rosaline E. Formless, A User’s Guide. New York: Zone
Books, 1997.
- Coupland, Douglas. Kitten Clone: Inside Alcatel-Lucent. London: Visual Editions,
2014.
- Debord, Guy. Society of the Spectacle. New York, NY: Zone Books, 1994.
- Easterling, Keller. Enduring Innocence: Global Architecture and its Political
Masquerades. Cambridge, MA: The MIT Press, 2005.
- Focillon, Henri. The Life of Forms in Art. New York: Zone Books; Revised edition,
1992.
- Gombrich, Ernst. A Little History of the World. New Haven: Yale University Press;
New Edition, 2008.
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- Hatherley, Owen. A Guide to the New Ruins of Great Britain. London: Verso Book,
2010.
- Hoffman, Abbie, Izak Haber, and Bert Cohen. Steal This Book. New York: Four Walls
Eight Windows, 1996.
- Joyce, James. Ulysses. New York, NY: Modern Library, 1992.
- Kundera, Milan. The Curtain. New York: HarperCollins Publishers, 2006.
- McLuhan, Marshall and Quentin Fiore. The Medium is the Massage: An Inventory of
Effects. Harmondsworth: Penguin, 1967.
- Rosenau, Helen. The Ideal City. London: Methuen 1983.
- Schöning, Pascal. Manifesto For A Cinematic Architecture. London: AA Publications,
2006.
- Sennett, Richard. The Craftsman. New Haven: Yale University Press, 2008.
- Sinclair, Iain. London Orbital. London: Penguin, 2003.
- Smithson, Robert and Jack D Flam. Robert Smithson: The Collected Writings.
Berkeley: University of California Press, 1996.
- Sontag, Susan. Against Interpretation and Other Essays. London: Penguin Classics,
2009.
- Steyerl, Hito. The Wretched of the Screen. Berlin: Sternberg Press, 2012.
FICTION
- Adams, Douglas. The Hitchhiker’s Guide to the Galaxy. New York: Harmony Books,
1980.
- Ballard, J. G. High Rise. London: Jonathan Cape, 1975.
- Blake, William and Andrew Lincoln. Songs of Innocence & Of Experience. London:
Tate, 2006.
- Borges, Jorge Luis and Andrew Hurley. Fictions. London: Penguin, 2000.
- Carson, Anne. If Not: Winter: Fragments of Sappho. Montreal, Canada: Knopf
Canada, 2003.
- DeLillo, Don. Cosmopolis. New York, NY: Scribner, 2003.
- DeLillo, Don. Zero K. New York, NY: Scribner, 2016.
- Dickens, Charles. A Tale of Two Cities. New York: Penguin Books, 2010.
- Gibson, William. Neuromancer. New York: Penguin Publishing Group, 2000.
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- Marcus, Ben. The Age of Wire and String. London: Granta, 2003.
- McGuire, Richard. Here. London: Hamish Hamilton, 2014.
- Orwell, George. Nineteen Eighty-Four. New York: Harcourt, Brace and Co., 1949.
- Perec, Georges and John Sturrock. Species of Spaces and Other Pieces. London:
Penguin Books, 1997.
- Serafini, Luigi. Codex Seraphinianus. New York: Abbeville Press, 1983
- Shakespeare, William, Stanley Wells, and Gary Taylor. William Shakespeare, The
Complete Works. Oxford, Oxfordshire: Clarendon Press, 1986.
- Wallace, David Foster. Infinite Jest. Boston: Little, Brown and Company, 1996.
- Woolf, Virginia. A Room of One’s Own. New York: Harcourt, Brace, Jovanovich,
1957.
FILMS
- Lang, Fritz. Metropolis (1927)
- Chaplin, Charlie. Modern Times (1936)
- Welles, Orson. Citizen Kane (1941)
- Godard, Jean-Luc. Breathless (1960)
- Fellini, Federico. 8½ (1963)
- Antonioni, Michelangelo. Blowup (1966)
- Truffaut, François. Fahrenheit 451 (1966)
- Tati, Jacques. Playtime (1967)
- Kubrick, Stanley. A Clockwork Orange (1971)
- Tarkovsky, Andrei. Stalker (1979)
- Herzog, Werner. Fitzcarraldo (1982)
- Jarmusch, Jim. Stranger than Paradise (1984)
- Wenders, Wim. Paris, Texas (1984)
- Gilliam, Terry. Brazil (1985)
- Greenaway, Peter. The Belly of an Architect (1987)
- Tarantino, Quentin. Pulp Fiction (1994)
- Weir, Peter. The Truman Show (1998)
- Lynch, David. The Straight Story (1999)
- Miyazaki, Hayao. Spirited Away (2001)
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- von Trier, Lars. Dogville (2003)
- Coen Brothers. No Country for Old Men (2007)
- Lanthimos, Yorgos. Dogtooth (2010)
- Anderson, West. The Grand Budapest Hotel (2014)
- Godard, Jean-Luc. Goodbye to Language (2014)
- Lanthimos, Yorgos. The Lobster (2015)
- Vinterberg, Thomas. The Commune (2016)
LINKS
* Places you must visit in London
- Barbican: http://www.barbican.org.uk/
- British Library: http://www.bl.uk/
- British Museum: http://www.britishmuseum.org/
- Building Centre: http://www.buildingcentre.co.uk/
- Institute of Contemporary Arts (ICA): https://www.ica.org.uk/
- Royal Academy of Arts (RA): https://www.royalacademy.org.uk/
- Royal Institute of British Architects (RIBA): https://www.architecture.com
- Tate Galleries: http://www.tate.org.uk/
- Victoria & Albert Museum: http://www.vam.ac.uk/
- Whitechapel Gallery: http://www.whitechapelgallery.org/
* Places you will need in London
- London Graphic Centre: http://www.londongraphics.co.uk/
- The Model Shop: http://modelshop.co.uk/
- Foyles Bookshop: http://www.foyles.co.uk/