‘Concrete Geometries’ is a research initiative at the Architectural Association School of Architecture that explores the relationship between spatial form and social practice – how geometric aspects of space influence social environments and provide settings for social relations. By bringing together art, architecture, design and the humanities, the cluster provides a platform beyond disciplinary boundaries. Read more
Antony Coleman’s photographs explore social clusterings in everyday spaces, whether in an infants gym where the protagonists ‘find a space’ to operate independently of each other or in the urban setting of Canary Wharf. The processes that structure these geometries can be practical such as a need to function unhindered or be based on the desire to maintain a personal space. Space and people are rendered entirely dependant upon each other – people’s behaviour is determined by their shifting surroundings but space, too, is provisional: it is human activity that defines, informs and qualifies space, ie that articulates it. Anthony Coleman is a photographer based in London.Exhibition, Submission
‘Geometries’ or built form could respond to and be informed by the socio-spatial realities of the everyday. This clearly extends from the immediate physical reality of objects or structures used in a project to include social processes which evolve through the use of spatial settings.Submission, Text
Marianne Mueller and Fran Cottell talked about how spaces, their shape and configuration affects people’s social behaviour at ‘Rethinking the Social in Architecture’, a research symposium by ‘Architecture in Effect’ at Umea University in Sweden. www.architectureineffect.se www.arch.umu.se/english/
The article The Exhibition as Social Ground appears in Oase 88 Exhibitions. Showing and Producing Architecture. The essay reflects on the exhibition ‘The Relational in Architecture’ held by the Concrete Geometries Research Cluster at the Architectural Association in 2012. OASE 88 examines the role of the architecture exhibition as a site of production. Bridging theory and (…)
Following previous house installations for CGP London, displaying the emotional qualities of chaos, and the relative status of the inhabitants and visitors as they perambulate through the house on increasingly higher platforms until, finally puncturing the ceiling and contributing to a collection of heads. BACK to FRONT will return to the ground; creating a new through space. The visibility of the house, visitors and the inhabitants will in turn be brought into question.