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The way architects observe and interpret space influences the way they design. A conscious practice of observation of space through movement aims at extending the understanding of space from static and singular to transitory and temporal. Through the use of the moving image space can be captured in time, enabling the documentation of its lived experience and addressing qualities of subjectivity and temporality. Aimed at creating links between the built and the lived environment, the moving image is proposed as a tool that allows for the exploration of duration as another dimension of space. The subject is approached through a design-led project From Naples to Capri, a video installation that explores movement as another practice of architecture, and through theoretical investigations around issues of spatial performativity and Bergson’s understanding of duration. Filming is explored as a spatial practice that can potentially shift the role of the architect from a distant observer to an active participant of space, a performer who derives knowledge from the experience of place. 30 1 56 66

Περιλαμβάνει τα πρακτικά του "Conference proceedings of the TFYD 2019", 23-25 October. Conference organisers: Chatzichristou, Christakis; Kranos, Elias; Iacovou, Popi; Koutsoumpos, Leonidas

This paper focuses on the analysis of Ludwig Mies van der Rohe’s curriculum at the Department of Architecture of the Armour Institute of Technology, which would be renamed Illinois Institute of Tech-nology (IIT), and László Moholy-Nagy’s curriculum at the New Bauhaus in Chicago. Special attention is paid to the teaching of the “Visual Training” course at the Armour Institute of Technology, which had some affinities with the “Preliminary Course” (Vorkurs) of the Bauhaus and was taught by Walter Peterhans, a Bauhäusler invited by Mies to join the Armour Institute of Technology, and served “to train the eye and sense of design and to foster aesthetic appreciation in the world of proportions, forms, colors, textures and spaces”. Mies prioritized “Visual training” over freehand drawing. For him, visual training was “indispensable as a means of recording an idea”, and drawing was to be under-stood as “a means of fostering insight and stimulating ideas”. Mies’s “Program for Architectural Educa-tion” was founded on his belief that students should be confronted, during their very first year, with the awareness that technique and ideas are interlinked. For this reason, he encouraged students to use drawings as a means of seeing. The overarching curriculum moved from “Means” to “Purposes” to “Planning and Creating”. Among the most discussed features of Bauhaus pedagogy is the Preliminary Course, the so-called Vorkurs. The way László Moholy-Nagy, director of the New Bauhaus founded in 1937, incorporated certain aspects of the Vorkurs in his curriculum, and especially in the Preliminary Course, at the New Bauhaus maintained the binary relationship between technology and aesthetics characterising Bauhaus pedagogy: that between Werkmeister and Formmeister. However, Moly-Nagy replaced this binary relationship by a more complex tripartite system organised around art, science and technology. Moly-Nagy believed that a new individuality was a prerequisite condition for a new society and his pedagogy was based on an ensemble of concepts drawn from Goethe’s understand-ing of epistemology and John Dewey’s pragmatism. One of the main objectives of this paper is to show that Moly-Nagy’s pedagogical and epistemological vision was based on an effort to reconcile humanistic anti-materialism, and a perception of experience as a set of situations linked to Dewey’s conception of education., Initiations: Practices of Teaching 1st Year Design in Architecture, ISBN:978-9925-553-29-7