with Dabin Lee, Leslaw Skrzypiec, Atimanyu Vashishth, Nastasja Knezevic, Masa Raskovic, Ivy Stotter, Julia Kirkpatrick, Lan Lan Le, Latefa Alimi, Guandong Diao Jeffrey Zhi, Sara Khalil Layoun, Felix Barr, Christian Harris , Adam Nieckarz, Andrzej Siewierski, Ursula Llewellyn, Hiroe Shigemitsu, Amalia Pantazopoulou, Sally Stott, Peter Bergman, Yasemin Cengic, Sam Alekander, Urzula Paszuk, Oskar Young, Paula Martin Rivera, Alex Nikolov, Pelin Tamey, Clive Menzies, Molly Evans, Sandra Simmonds, Roberta Jenkins, Daniel Owusu, Chris Scannell, Photios Demetriou, Nerma Cridge, Will Litre, Andreea Teleaga, Duncan Watson, Dan Kacinkas, Isabel Hardingham, George Cocks, Saskia Lewis, Emma-marta Berzin, Anna Font Vacas, SimineWallyar-Marine, Harriet Jennings, Mariusz Stawiarski……and many many more to follow

with Atimanyu Vashishth, Pak Yu Yung ,Lea St.Georges, Vedika Dawar, Emma-marta Berzin, Peter Bergman, Michela Falcone , Tanja Siems,Theo Lorenz, Selin Nisa Acikel, Laurence Lumley, Theo Spyropoulos, Photios Demetriou, Leslaw Skrzypiec, Matthew Collins, Chiara Danieli, Yasemin Cengic, Valentin Bontjes van Beek , Rory Sherlock

While both “simulation” and “simulacrum” involve representation, a simulation imitates real-world processes or systems, while a simulacrum is a copy or representation that either had no original or where the original is no longer relevant, often blurring the lines between reality and representation.

with Isabel Hardingham, Atimanyu Vashishth, Claire Potter, Max Alexander, Ella Runeing, Alisa Kutsenko, Lea St.Georges, Changhao Zhou, Celine Hobeichi, Charlotte Scott, Peter Bergman, Nikitha Achar, Maya Crnogorac, Sam Alexander, Sandra Simmonds, MichelaFalcone, Dan Kacinkas, Selin Nisa Acikel, Emma Marta Berzin, Gabriella Tan, Daniel Owusu, Rob Busher, Sama Mohammed Qasim Al-Nadosi, Tianqin Yang, Ebere.Nwosu, Nikolaos Panagopoulos, ZHIYI LIU, Will Litre, Andreea Teleaga, Duncan Watson, Anna Font Vacas, Leslaw Skrzypiec, Roberta Jenkins, Yasemin Cengic, Photios Demetriou, Pascal Babeau,

with Atimanyu Vashishth, Celine Hobeichi, Charlotte Scott, Alexandra Gridneva, Dan Kacinkas, Selin Nisa Acikel, Taek Whun Chung, Will Litre, Selin Oktem, Andreea Teleaga, Duncan Watson, Claire Potter, Peter Bergman, Tom Parkes, Leslaw Skrzypiec, Ed Bottoms, Roberta Jenkins, Yasemin Cengic, Photios Demetriou

with Atimanyu Vashishth, Leslaw Skrzypiec, Selin Nisa Acikel, Taek Whun Chung, Alva Jung, Sacha Trouiller, Inter 7, Claire Potter, Laurence Lumley, Ed Bottoms, Roberta Jenkins, Photios Demetriou,

with Atimanyu Vashishth, Selin Nisa Acikel, Laurence Lumley, Clemens Kubitza, Celine Hobeichi, Peter Bergman, Luisa Pires, Yasemin Cengic, Valentin Bontjes van Beek , Rory Sherlock, Ann-Sofi.Ronnskog, Dip4 & Dip16, Ryan Dillon, John Palmesino, Theo Spyropoulos, Photios Demetriou, Leslaw Skrzypiec, Anna Font Vacas, AA Library

• audio: Mike Davies, comments on Constructed Atmosphere ( StudioTheodore Spyropoulos) during DRL MAarch week,

Thomas Rowlandson 1811?

with Selin Nisa Acikel, Atimanyu Vashishth, Intermediate 10, Eleonora Lushchyk, Leslaw Skrzypiec, Yasemin Cengic, Photios Demetriou, Yasemin Buyurgan,

with with Selin Nisa Acikel, Haoming Zheng, Paula Martin Rivera , Atimanyu Vashishth, Pelin Tamay, Daniel Owusu, Ed Bottoms, Golnar Tajdar, (AA Archive), Yasemin Cengic, Photios Demetriou, Eleonora Lushchyk, Ursula Llewellyn, Hiroe Shigemitsu, Leslaw Skrzypiec, intermediate 10, DRL……

with Paula Martin Rivera , Atimanyu Vashishth, Pelin Tamay, Maximilian Hohl Hyde,Leyal Ilgaz, Defne Erkazanci, Azra Mollaahmetoglu, Sofia Zisopoulou, (momae) Voranan Adhiphandhuamphai, Caroline Ruth Chelouche, Adrien Nikolaj Chouraqui, Julia Aleksa Dudek, Derin Kutay, (Mae)  Nutpanee Narathasajan, Asli Soydan, (Eugene) Zhao HongXingYa, Paul Feeney, Daniel Owusu, Andreea Teleaga 

with Paula Martin Rivera , Atimanyu Vashishth, Pelin Tamay, Celine Hobeichi , Hussain Al-Bahrani, Yasemin Cengic, Junjian Wang, Shalu Lin, Peter Bergman, Selin Nisa Acikel 

Modulor Man – 1:1 drawing
To be honest, when we pinned up the paper and scaled the Modulor to the correct dimension, I felt overwhelmed by how large it
appeared. I never expected to be so taken aback by how the Modulor Man looks at a 1:1 scale. Maybe I’m just one of those people
who struggle to grasp dimension — or maybe, the Modulor Man really doesn’t reflect the proportions of an actual human being.
The ‘healthy white male’ left my 19.8 x 35.57cm computer screen, to become a human scale representation. Drawn into a black
background, the white silhouette makes its exclusion become glaringly obvious — the Modulor is not just a design tool, but a system
that reinforces a narrow idealised vision of humanity that I don’t think ever really accounted for the modernist society, or at least it
doesn’t account for the society of the 21st century.
It was quite triggering to see how I kept having to approach the stair while drawing the modular silhouette, as without it, I wouldn’t
reach many extents of his ‘standard’ body. This made me realise how his rigid proportions (designed to represent a universal
standard) really fail to account for the diversity of a real human body. The form of his body, from his shoulders to his waist and head,
has proportions that feel distinctly “off” and don’t seem to align with any 1.829m tall man.
The silhouette is encapsulated within a grid drawn by Le Corbusier, seemingly inspired by the golden ratio and Fibonacci sequence.
Initially, I wasn’t planning on drawing the grid because it has always felt overly complex to understand. However, I suddenly found
myself symbolically incarcerating the Modulor within his own grid.
When painting the negative, this feeling became much more apparent, this ‘incarceration’ mirrored how design has often confined
humanity within rigid, idealised frameworks. This act of imprisonment reflected the way such systems reduce human complexity to
predetermined proportions, ignoring individuality and diversity.
The physical act of tracing its rigid, universal proportions emphasised its disconnection from the diversity and irrationality of real
human bodies. This tactile process underscored the critique: the Modulor’s standardisation is not a celebration of humanity, but an
imposition upon it—one that erases individuality in favor of conformity.
The Modulor man really seems as an act of simplification, where everything the human body encapsulates has been left aside..
Through a system, the human complexity has been reduced to predetermined proportions, ignoring individuality and diversity.