AR-402(o) / 13 crédits

Enseignant(s): Gil Lopesino Eva, Palacios Rodriguez Carlos, Fogue Herreros Luis Uriel

Langue: Anglais

Withdrawal: It is not allowed to withdraw from this subject after the registration deadline.

Remark: Inscription faite par la section


Fiction is one of the laboratories that architecture uses for its tests. This should not come as a surprise, since architecture has always been a "science of fiction". The studio holds by elii [architecture office] will work in Madrid on housing, domesticity and fiction.



Fiction, Domesticity, Housing, Architecture, Collective Intelligence, Negotiation, Madrid

Learning Prerequisites

Recommended courses

We only suggest our students to follow these subjects:
AR-521 De la structure à l'ornement Prof. Picon
AR-427 Histoire de l'habitation Prof. Ortelli
AR-467 UE C: Logement collectif Prof. Ortelli
AR-488 Familiar horror-critical history of domestic space Prof. Aureli
AR-472 Swiss cooperative housing: a critical overview Prof. Davidovici
AR-451 Architecture et construction de la ville I Prof. Gilot
AR-452 Architecture et construction de la ville II Prof. Gilot

Important concepts to start the course

The language we are going to use during the semester is English. French and German would be use informally. Due to the covid-19 situation and some restrictions for traveling, we are going to combine presence and synchronous online teaching at the Campus (hybrid teaching could be develop also) during course 2021-2022. A specific schedule and syllabus will be provided at the beginning of the semester. Laptop and/or computer, a good internet connection at home and microphone and headphones are necessary to follow properly our classes.

Learning Outcomes

By the end of the course, the student must be able to:

  • Develop independently an architectural and canonical definition form different cultural products.
  • Analyze and understand architecture as a fiction matter.
  • Develop in group a precise and consistent architectural project.
  • Develop in group shared narratives.
  • Produce models, drawings, prototypes, storyboards, films, scripts and other documents, elaborating on the idea of their design.
  • Conduct a research based on fiction and domesticity.
  • Apply models, drawings, prototypes, storyboards, films, scripts and other documents to explain properly the idea of their design.
  • Construct architecture from an urban, collective and ecosystemic approach.

Transversal skills

  • Plan and carry out activities in a way which makes optimal use of available time and other resources.
  • Negotiate effectively within the group.
  • Make an oral presentation.
  • Identify the different roles that are involved in well-functioning teams and assume different roles, including leadership roles.
  • Use a work methodology appropriate to the task.
  • Evaluate one's own performance in the team, receive and respond appropriately to feedback.

Teaching methods

During our course 2021-2022, we will combine physically present classes on Campus and synchronous online classes, live streamed and recorded in ZOOM, SWITCH Tube and Moodle. Our Studio will be 14 weeks long, with classes every Monday and Tuesday, during the mornings, from 9:00 until 14:00. We will provide the students a complete syllabus, schedule and calendar, including activities with the procedure week by week. The semester is going to be organized in two Modules: Module_01: individual work will last three weeks; Module_02: collective work will last 10 weeks in groups of two or three people. The students acquire the capacity of working individually and in groups for two or three people, organized in a Vertical Studio learning methodology. Each group for the Module_02 will be configured by one student from Bachelor and one or two students from Master. The teaching activity will develop through lectures, specific reviews and weekly design work. Students will present their work regularly, every week, some times in a public pin-up session. Intermediate and final reviews with guests' critics will be organized.

Expected student activities

Possible travel to Spain (Madrid) to visit the environment and some examples of Spanish housing proposals (depending on the covid-19 situation at that time and the conditions to travel). Other visits to Swiss exhibitions or examples could be done during the course.
Students are expected to:
- to be present in the studios to work on their projects amongst their peers the whole day, Mondays and Tuesday mornings.
- to practice and master the different assignments in the development of an architectural project that tackles spatial issues and different scales from the body to the territorial.
- to show, share and explain to the class their design process and proposal.
- to attend all the lectures and the reviews and participate in all the activities proposed by the Studio.
- to prepare questions and reflections for seminars by watching the uploaded lectures and reading the relevant texts in order to be able to participate in a discussion.
- to engage in discussion with their studio tutors, assistant, guests, and peers in order to progress their projects.
- to structure their work into succinct presentations for pin-ups and reviews and to be able to argue for and defend their choices and decisions through demonstrating their work, but at the same time to be self-critical and able to receive criticism and feedback.
- to document the progression of their projects (drawings, models, images, texts and other elements of work) by sharing regularly in class, on MIRO boards and our Facebook group.


Assessment methods

We will provide the students a complete syllabus, schedule and calendar, including activities, the procedure week by week and the rating system. There will be a Final Jury (14th week) after each Module and a Midterm Review for the Module_02 in the middle of the process. These several pin-ups and reviews will be organized inviting guests' critics to give feedback and critics to all the students. There will be lectures related to the chapters of the script. During the feedback-session (Final Jury), that will span one or two days, each proposal will have an in-depth evaluation. The discussion and reflections among the critics and tutorial team is part of the didactic aims of the studio, students are invited to fully participate in this. Rating and grades will be based on continuous evaluation, attendance and participation in class, the evolution of each project, the collaboration level achieved with their peers and the content of the middle reviews, the Final Jury and all the submissions and assignments. Rating and grades will be based on the EPFL usual code. All the students will be attending every week to learn from the feedback provided by the invited critics and the tutorial team. We will develop dynamics and activities to enrich this participation in multiple ways.
Students will be evaluated during the semester on the material evidence of their work according to the eight skills and ability to demonstrate mastery of its management in an adequate and precise way, since the elaboration of ideas until their translation into spatial proposals and built in a specific territory. This process should be progressively documented in the MIRO boards, Moodle and private Facebook group in addition to the physical production of the works that will be exhibited / presented in the studios. These abilities will be expressed in different ways at first, but over time they should interact and support each other in the expression of the project.
1. CONCEPT PROPOSAL: to design and create a coherent position and situated position based on their own arguments and facts, regarding to the questions proposed. Speculative proposal exploring the limits and the opportunities of the concepts of domesticity, housing and the art of living together.
2. NEGOTIATION / COLLECTIVE INTELLIGENCE: at various levels - within the Group (between peers), within the Studio (between students, different groups and projects), within the project (constraints, conditions, ideas), within the Vertical Studio (students and tutors), and also within the environment, context and territory.
3. ORAL AND VISUAL COMMUNICATION: clarity, coherence, structure, narration, audience participation, attention.
4. COMPLEX DOCUMENTS / DRAWINGS: transitive, domain, analytical force, spatiality, expression, precision, execution.
5. MODELS / MAQUETTES / PROTOTYPES / MOCK UPS: conceptual consistency, technical accuracy, speculative and evocative intention, precision of execution, fetish objects, understanding of scales.
6. CULTURAL / ARTCHITECTURAL / ART REFERENCES: understanding of the relationship between the architectural project and the requested cultural references for their development.
7. CONSTRUCTION OF ATMOSPHERES / IMAGES: mastery of techniques, image quality and strength of the message it transmits.
8. TEXT: narrative, conceptual and editorial quality to reactions and reflective response. Transitive, evocative.
9. CONSTRUCTION: demonstration of constructive thinking at different scales, from detail to site.
The tutorial team consists of Eva Gil Lopesino, Carlos Palacios Rodrí­guez and Uriel Fogué Herreros from elii [architecture office], with the assistance of Léonore Nemec, as part time assistant.


Assistants Yes
Forum Yes
Others Léonore Nemec, architect, part time assistant.



Housing and flexibility I. (1998). A+t, (12).
Housing and flexibility I. (1999). A+t, (13).
Ábalos, I. (2017). The Good Life. A Guided Visit to the Houses of Modernity (1st ed.). Zurich: Park Books.
Ábalos, I. (2019). La buena vida. Visita guiada a las casas de la modernidad (Colección Clásicos). Barcelona: Editorial Gustavo Gili.
Alfred Hitchcock & PauHof: The Wrong House (2007). Antwerpen. Amberes: deSingel.
Amann Alcocer, A. (2011). El espacio doméstico: la mujer y la casa. Madrid: Nobuko.
Aureli, P. V., & Giudici, M. S. (2016). Familiar Horror: Toward a Critique of Domestic Space. Log, 1(38), 105-129.
Aureli, P. V., & Tattara, M. (2021). Dogma (2002-2021) Familiar / Unfamiliar. El Croquis, (208), 18-27.
Boudet, D., Kurz, D., Davidovici, I., Schärer, C., Simon, A., & Claus, S. (2017). In Boudet D. (Ed.), New Housing in Zurich. Typologies for a Changing Society (1st ed.). Zurich: Park Books.
Canales, F. (2021). Mi casa, tu ciudad: Privacidad en un mundo compartido (1ª ed.). Barcelona: Puente Editores.
Chey, K. (2017). Multi-Unit Housing in Urban Cities: From 1800 to Present Day. 358: Routledge.
Chinchilla, I. (2020). La ciudad de los cuidados. Madrid: La Catarata.
Coles, A. (2016). EP Vol 2: Design Fiction. New York: Sternberg Press.
Colomina, B. (2006). La domesticidad en guerra. Barcelona: Barcelona Actar.
Colomina, B. (2007). Domesticity at war (1st ed.). Cambridge: The MIT Press.
Currie, G. (1990). The Nature of Fiction. Cambridge University Press.
Davidovici, I. (2017). Ideology and Collective Life. In D. Boudet (Ed.), New Housing in Zurich: Typologies for a Changing Society (pp. 78-86). Zurich: Park Books.
Dogma. (2015). Interior Tales (1st ed.). Milan: Black Square.
Druot, F., Lacaton, A., & Vassal, J. (2007). Plus. Large-scale housing developments. An exceptional case. Barcelona: Editorial Gustavo Gili.
Ferrando, D. T. (2017). In Álvarez Benítez P. V. (Ed.), La Ciudad en la Imagen (P. V. Álvarez Benítez Trans.). (1st ed.). Sevilla: Vibok Works.
Fogué Herreros, U., Palacios Rodríguez, C., & Gil Lopesino, E. (2015). In Palacios Rodríguez C., Gil Lopesino E. and Fogué Herreros U. (Eds.), What is home without a mother (1st ed.). Helsinki, Madrid: HIAP, Matadero Madrid.: HIAP, Matadero Madrid.
Freeman, H. (2016). Life Moves Pretty Fast: The Lessons We Learned from Eighties Movies (and Why We Don't Learn Them from Movies Anymore). New York: Simon & Schuster.
Garcia, i. M., Adriá. (2016). Designing with transitioning communities. The case of La Borda 10.13140/RG.2.2.10376.42247.
García-Carpintero, M. (2016). Introduction recent debates on learning from fiction. Teorema, 35(3), 5-20.
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Henderson, S. R. (2009). Housing the Single Woman: The Frankfurt Experiment. Journal of the Society of Architectural Historians, 68(3), 358-377. 10.1525/jsah.2009.68.3.358
Jacobs, S. (2007). The Wrong House: the architecture of Alfred Hitchcock. Rotterdam: Rotterdam 010 Publishers.
Kinchin, J., & O'Connor, A. (2011). Counter Space: Design and the Modern Kitche (1st ed.). New York: The Museum of Modern Art, New York.
Kries, M., Eisenbrand, J., Morrison, J., Sparke, P., Grima, J., Rawsthorn, A., Taylor, A. J. (2020). In Kries M., Eisenbrand J. (Eds.), Home Stories: 100 Years, 20 Visionary Interiors (1st ed.). Weil am Rhein: Vitra Design Museum.
McCausland, E., & Salgado, D. (2019). Supernovas. Una historia feminista de la ciencia ficción audiovisual (1st ed.). Madrid: Errata naturae editores.
Muxi-Martínez, Z. (2021). Beyond The Threshold. Women, Houses, Cities. Barcelona: DPR Barcelona.
Nerdinger, W. (2006). Architektur wie sie im Buche steht: Fiktive Bauten und StÀdte in der Literatur Pustet Anton.
Pallasmaa, J. (1999). The Architecture of Image: Existential Space in Cinema Rakennustieto Publishing.
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Schmid, S., Eberle, D., & Hugentobler, M. (2019). A History of Collective Living: Models of Shared Living. Zurich: Birkhauser.
Weinthal, L. (. (2011). Toward a New Interior. An Anthology of Interior Design Theory. Nueva York: Princeton Architectural Press.
More bibliography will be provided during the semester.


Dans les plans d'études

  • Semestre: Printemps
  • Forme de l'examen: Pendant le semestre (session d'été)
  • Matière examinée: Théorie et critique du projet MA2 (elii)
  • Cours: 2 Heure(s) hebdo x 14 semaines
  • Projet: 4 Heure(s) hebdo x 14 semaines
  • Semestre: Printemps
  • Forme de l'examen: Pendant le semestre (session d'été)
  • Matière examinée: Théorie et critique du projet MA2 (elii)
  • Cours: 2 Heure(s) hebdo x 14 semaines
  • Projet: 4 Heure(s) hebdo x 14 semaines
  • Semestre: Printemps
  • Forme de l'examen: Pendant le semestre (session d'été)
  • Matière examinée: Théorie et critique du projet MA2 (elii)
  • Cours: 2 Heure(s) hebdo x 14 semaines
  • Projet: 4 Heure(s) hebdo x 14 semaines

Semaine de référence