Archipelago of the Blessed

The term hermoso – used by Canarian grandmothers to describe both their islands and the chubby babies delivered to its volcanic soils – can be traced to its Latin root, formosus which literally translates as full of beautiful forms. When the Canarian archipelago was first recorded in Western history by the Romans, who named it the ‘Fortunate Islands’, or the ‘Isles of Bliss’, it stood as the edge of the world. During the 15th and 16th centuries, the islands became prototypes for Spanish colonial genocide and the subjugation of their first peoples. Subsequently, because of the archipelago’s geography, it became a strategic supply, staging and stop-over ground, teeming with Spanish and British architecture for the colonisation of the Americas, Africa, India and beyond: palaces, proto-factories, ports, ships, military, missionaries, and entrepreneurs.


In the first year of our investigation of Canarian architecture in La Palma, we are not interested so much in magnificent architectures. We aren’t interested in architectures saturated with categories, identity, functionality, progress, history, nostalgia, expression, branding, or escape. Instead, we are interested in examples drawn from archetypes that give us insights and access into the deep particularity of this place’s architecture. At the same time, we are interested in examples that make simple use of common, easily available materials, whether reused from local constructions, typical modern building components, or natural materials from the immediate area. We are interested in the singular, built examples that reveal common types and fundamental forms which were drawn out of those plainly useful and enjoyable features of the landscape. Simultaneously, these built examples have of course suspended the given landscape and ‘nature’ by introducing something entirely artificial and new. Charcos inspire aljibes [cisterns], piscinas [pools] and presas [reservoirs]; caves become lonjas [cellars] and cabolos; terraces turn into salinas, are hardened or moulded into plazas and platforms, campos [sport pitches], or are tilled and cultivated as huertas [orchards]. The power of these examples that learn from the archetype resides both in their common, distinct, and legible ‘concrete’ form and in their lack or absence of determinacy over function, use, or meaning; in their clarity as types, and tendency towards being non-typological; in their particularity and yet emptiness.

Course leader

MARÍA PÁEZ GONZÁLEZ, BRENDON CARLIN

Target group

he programme is open to architecture and design students, but also undergraduate students from the fields of archaeology, anthropology, sociology and beyond. Our research methods and writing workshops will prove beneficial also to PhD candidates and young or experienced professionals in these fields. Software Requirements: Adobe Creative Suite, in particular photoshop and illustrator, Word, Rhinoceros or other drafting CAD software. +18 y.o. age requirement.

Course aim

- Lectures and discussions on architectural History and Theory

- Experimental Research by Design methods through workshops on writing, drawing, and making

- Field work with academics and practicing architects

- Site and case study Critical Reading portfolio

- Study drawings

- Thesis-based design proposals

- 1 to 1 fragement and material mock-up construction

- Joint exhibition

Fee info

GBP 695: The AA Visiting School requires a fee of £695 per participant, which includes a £60 Visiting Membership fee, payable by all participants.

Fees do not include flights or accommodation, or transportation, but accommodation options can be advised. Students need to bring their own laptops, photographic writing and draughting equipment.

Scholarships

20% bursaries available to current AA students, your fee will be altered upon AA log in during the registration. If you have any issues, please get in touch with the Visiting School office.