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Designed as a comprehensive resource on spatial thinking, experimental pedagogy, and academic practices, this archive serves as a record for reference and critical analysis. 

More than a traditional institutional repository, it is envisioned as an "Archive of Ideas," structured to mirror the conceptual and intellectual framework of SEA. The platform captures specific engagements, explorations, and pedagogical reorientations, expressing the school's distinct set of practices constituted by its students and teachers. 

The collection encompasses intellectual articulations—from course books and objectives to studio briefs and lectures—alongside a  documentation of student work, field studies, and thesis projects. Through this structure, the archive navigates complex inquiries into typologies, ontologies, and genealogies, while exploring themes of environment, urbanisation, futures, and ethics. It serves as a space for rethinking geographies and histories of type, offering the school's co-learning experiments and its ongoing articulation of space and form.


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Affordances of screens between and desire in suburban streets

Screens and Projections
Anshuli Kadam, 2020


The technology of cinema, introduced about a century ago has fundamentally resituated humanity’s notion of physical reality. We inevitably exist within two realms today: the physical realm shaped by practices of architecture and building and another one that we visually experience and inhabit through cinema. These realms closely resemble each other even while they are produced quite differently. We experience the cinematic realm and extract out of them meanings that are structured by our experiences in the physical realm. We also keep referring to the cinematic experiences to shape our own perspectives to understand the world around us.

This thesis makes a three-fold analysis: Firstly it discusses the key cinematic aspects responsible for creating the space of a film. Secondly, it focuses on the various meanings and emotions that are generated through the aspects of mise-en-scene and montage - the essential space and time constructing devices through which cinema is produced and eventually consumed by the audiences. Lastly, it looks at how these aspects are used to make a shot or a scene cinematic to have a lasting impact on the viewer.

A set of eight film shots/scenes are chosen that predominantly highlight one aspect each. It is due to these aspects and the generated meanings through their use, that cinema becomes an important filter with which one then perceives the physical reality in which one exists.  


Read also under ‘Screens and Projections’:


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Affordances of screens between and desire in suburban streets

Screens and Projections
Anshuli Kadam, 2020

Image 1

The dream house, desires | aspirations | experiences | visions

Screens and Projections
Sneha Pawar, 2020

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