This\u00a0collaborative research project was staged at two sites in London,\u00a0Phase II<\/a><\/em>, a purpose built art and design school designed by Bill Howell for the firm Howell Killick Partridge and Aims for Middlesex Polytechnic in 1978, and Denys Lasdun’s 1976\u00a0Royal National Theatre (London, UK).<\/a>\u00a0\u00a0<\/em>The project\u00a0engages a range of artistic research practices to\u00a0explore, contextualize and debate the role of the built\u00a0environment of the art school (and related culturalspaces) as a dynamic site of social interaction out\u00a0of which artistic research practices have developed\u00a0as strategies for producing both knowledge of a space\u00a0and knowledge of how to understand the formation of\u00a0that space, the seeing of it, listening to it and the\u00a0processes through which we as students, lecturers,\u00a0administrators, facilities staff, librarians, artists\u00a0and researchers contribute to how such built spaces are produced and experienced over time.I make connections between local developments in the\u00a0cultural politics of artist education in north London and\u00a0concepts of authorship, experience and history in the\u00a0context of a built space.\u00a0By critically reflecting on a\u00a0series of collectively produced artistic research works\u00a0produced out of a specific art school site, the research\u00a0reflects on the implications \u2013 intellectual, political,\u00a0social \u2013 of placing historical, critical and theoretical\u00a0studies in the art school and on the contemporaneous\u00a0design of flexible multi-purposed and adaptive spaces\u00a0such as the Phase II building in which much of this study\u00a0is located. The art school is proposed as an active\u00a0engine, an environment within which many participate in\u00a0different ways at different times in a shared community\u00a0of aesthetic, cultural and intellectual debate in and\u00a0around which they negotiate their developing practices.<\/p>\n Through a series of artistic research works, I argue that\u00a0the experience of these spaces is comprehensible only\u00a0at the point of encounter between artist, listener and\u00a0work. The encounters presented here necessitate new and\u00a0evolving social relations within the artistic research\u00a0work and propose forms of resistance to dominant forms of\u00a0subject formation within art school culture.<\/p>\n Project Director: Aoife Mac Namara, AHRC Creative Research Fellow: Andrew Kearney, Leverhulme Trust Research Fellow: Anthony Kiendl<\/p>\n Artists: Aoife Mac Namara, Andrew Kearney, Michael Sherin. Research Intern & Project Manager: Thomas Cuckle<\/p>\n Research Outputs<\/span>
\nOn the Site<\/i>\u00a0(Mac Namara, 2013), \u00a0Spaces Buildings Make: the work of artistic research on the experience of built space<\/em>\u00a0(Aoife Mac Namara, PhD Thesis, 2013), \u00a0<\/em>Data Digest Part 1<\/em>\u00a0(Kearney et al, 2005),New Well-Tempered Building<\/em>\u00a0(Mac Namara, 2006),\u00a0Informal Architecture Symposium,\u00a0<\/i>\u00a0(Symposium, Banff: Banff Centre, 2004).\u00a0Conceptions of Space: Architecture and Curating<\/i>\u00a0(Symposium, Tate Britain, 2005)\u00a0\u00a0Notice Board<\/em>\u00a0(Cuckle, 2006),\u00a0Heeley Cam<\/em>\u00a0(Mac Namara, 2007),\u00a0Assembled Landscape<\/em>\u00a0(Kearney, 2005-ongoing),\u00a0Peter’s Smoking Room<\/em>\u00a0(Kearney, 2005),\u00a0Untitled – Figures<\/em>\u00a0(Cuckle, 2007),\u00a0A Script for Five Voices<\/em>\u00a0(Mac Namara, 2007),\u00a0Informal Architecture 2,\u00a0<\/i>\u00a0(Symposium, London: Tate Modern, 15th, February, 2007).Botanical Research Terrace<\/em>\u00a0(Kearney et al, 2008),\u00a0Intersection<\/em>\u00a0(Kearney, 2008),Phase II: Speculative Practices, On Art, Architecture and Curating<\/em>\u00a0(2007, Mac Namara ed.),\u00a0Spaces Buildings Make: A Laboratory for Critical Spatial Practice<\/em>\u00a0(Kearney, Mac Namara, Sherrin, 2008),\u00a0Bill of Quantities<\/em>, (Mac Namara, 2008), Spaces Buildings Make (Mac Namara, Cuckle, eds., 2008),\u00a0Informal Architectures: Space and Contemporary Culture<\/em>\u00a0(Kiendl, 2009)<\/p>\n