AVA MArch Architecture mid review 2019
AVA Architecture + Design Yearbook 2020 Publisher University of East London Editor Claudia da Palma Romao Graphic Design Studio Jon Spencer Showcase Edition July 2020 ISBN 978-1-9989909-0-0 (printed version) ISBN 978-1-9989909-1-7 (digital version) University of East London School of Architecture and the Visual Arts Dockland Campus E16 2RD T+44 020 8223 2041 F+44 020 8223 2963 www.uel.ac.uk
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@uel_architecture_design @uel_foundation_arch_design @uel_first_year_architecture @uel_architecture @id_ba_uel @uel_mainteriordesign @uel_landscape
Contents Acknowledgements p4 Mission Statement
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Welcome p7 Research p10 Pedagogy p28 History & Theory
p64
Foundation p68 RIBA accredited courses
p78
BSc Architecture Year 1
p80
BSc Architecture Year 2 & 3 Unit A
p96
Unit C
p106
Unit E
p118
Unit G
p130
Unit H
p142
MArch Architecture Year 4 & 5 Unit 0
p154
Unit 2
p162
Unit 4
p174
Unit 5
p182
Unit 6
p190
Unit 8
p198
BSc Architecture Design Technology (ADT)
p209
BA Interior Design
p240
Postgraduate Studies MRes p264 MA Architecture and Urbanism
p266
MA Landscape Architecture
p276
MA Interior Design
p286
PhD in Architecture + Design
p304
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Introduction p8
P4 Acknowledgements
Acknowledgments We would like to thank the many organisations, companies and individuals who we have had the pleasure of collaborating with, including: Ablett Architects
Kalpesh Intwala, Stanton Williams
Qatar Airways
ACMI – Thessaloniki
Karina Williams, British Land
Qatari Diar
Adrem
Kazan State Institute of Architecture and Engineering
RCKa
Allford Hall Monaghan Morris (AHMM) APCOR, Portuguese Cork Association ARB
Lendlease
RIBA East London Architects Group (ELAG)
Light Me Lusail
Richard Wentworth
Liz Waters, Sir Robert McAlpine
Royal Docks Development Corporation
Barton Willmore Consultancy
London Borough of Waltham Forest
Batterea Power Station Development Company
London Legacy Development Corporation
BPTW
Louise Scannell, Weston Williamson
British Land Plc Camden Giving
MAKE Architects
Royal Institute of British Architects (RIBA) ScottWhitbyStudio Shed Life Sir Robert McAlpine
Marija Ambrasaite, Aedas
Skidmore Owens and Merrill (SOM)
Charles Horne
Mark Lemanski, muf architecture/ art
Southwark Day Centre for Asylum Seekers
Chartered Institute of Architectural Technologists (CIAT)
Matter Architecture
St Helen’s Church
Milliken Floors Europe
Steve Deadman, Pollard Thomas Edwards
Chalton Gallery
Creekside Discovery Centre Daria Wong, Daria Wong Architects
Morgan Sindall Volker Fitzpatrick Nakheel Landscapes
Dezeen
Neba Sere
Eco Friendly Tiles
Newham Council
Emma Graham, RCKa
Nia Rodgers, TP Bennett
Extinction Rebellion
Nick Evans, Vabel
Gareth Morris, What If? Projects
Nilesh Shah, Russian for Fish
Hobbs Group
Nimi Attanayake, nimtim architects
Jayden Ali, JA Projects
Oficinas do Convento, Montemor-o-Novo, Portugal
Jeff Tidmarsh, Sir Robert McAlpine Jemma Miller, Tate Hindle
Story Garden Studio Bark Sustainability Research Institute The Blackhorse Workshop The Supreme Court Tom Dollard, Pollard Thomas Edwards UEL Sustainability Research Institute Universidade de Evora, Portugal
Paul Gregory
Vibrant
Pervolarides – Thessaloniki
WhitbyWood Engineers
At A+D we foster a broad and inspiring education to establish a rich foundation for a creative professional life. We are a career led school of Architecture and Visual Art. Our Architecture and design programmes challenge assumptions and set new agendas for design in the 21st century. We balance the development and support of our students’ talents with the understanding that Architecture & Design is contextual, socially constructing and political. We believe that the design conversation in studios between students and staff across models and drawings is central to creative development. Our students are encouraged to undertake study trips internationally in each year of study to deepen an understanding of people and places. Our teaching balances a respect and understanding of the past and the present with an inspirational, poetic and innovative stance towards the future.
Our staff teach at the highest level and maintain an enquiring research approach to physical and intellectual contexts. We embrace real situations with passion and creativity. We believe that a depth of enquiry and poetic experimentation develops from the experience and understanding of making, drawing and materials in well-crafted output. We believe that Architecture and Design is thought, experienced and built. Our school acts as a forum for ideas and thought across a wide rage of disciplines. We host a national and international lecture series which acts as a magnet for theorists and practitioners to contribute to the discussion and debate in the school. We have extensive workshops and facilities for the creation of real and digital artefacts.
P5  Mission Statement
Mission Statement
MArch Architecture Unit 6 – work in progress
It gives me great pleasure to introduce this year’s edition of the Architecture and Design Yearbook. This is a very exceptional year due to the Coronavirus Pandemic and the lockdown which incentivised us to work in new ways and more creatively. We became in a short span of time more techdependent, as the digital platform has been the only way to work which is a culture shift for many of us. Coronavirus has brought the world to a halt like nothing else could. This pandemic has forced all of us to break with the past and plan for a new world, where ways of working, studying and living will be completely different. This year’s book is full of a wide range of very inspiring and creative projects developed by our talented students in partnership with leading architecture practices. By closely working with leading employers and practitioners, we strive to offer our students the best experience possible to ensure they are ready for the workplace and capable of providing solutions to grand design challenges. Our highly regarded staff are engaged in high impact applied research which transforms lives and society. We are extremely proud to be situated as an anchor institution at the heart of east London and, for the last forty years, have been at the forefront of working in collaboration with local urban design practices and community stakeholders in order to develop a distinctive offer in Architecture and Design. I am thrilled with the quality and standards of this year’s work which presents a comprehensive profile of our students, reflects creative thinking and a holistic approach to design. My very sincere thanks to those colleagues, practitioners and alumni who continue to work together to make Architecture and Design the flagship area that it is. I take this opportunity to wish all graduates a very successful and bright future. We hope you will remain in touch with us as you forge ahead in your careers, remembering that it all began at the University of East London. Professor Hassan Abdalla PhD PFHEA FRSA Provost University of East London
P7 Welcome
Welcome
Architecture Art and Design after Unity P8 Introduction
After the End of History The third perspective
All of us currently witnessing the Coronavirus outbreak will quite reasonably have our thinking directed to finding solutions to current issues. In contrast, it is the means by which we engage with the past that will liberate thinking and facilitate the longterm progression of our civilisation through the 21st Century. This introduction will explore three possible perspectives to the past that provide different ways of innovating solutions for the future: the ‘End of History’, the Postmodern perspective and the third perspective, Continuity. The term “The End of History” was first coined in 1861 by Antoine Cournot to denote the point at which civil society reaches a state of perfection. This was later advanced by Francis Fukuyama’s 1989 article ‘The End of History’ (1) which argued that, following the collapse of communism in the Soviet Union and the introduction of reforms in China, there were few challengers remaining to the evolution of liberal order. Free markets, he argued, would become universal. This ‘End of History’ perspective thus conceptualises the past as a pyramid founded upon primitive ideas and capped by a perfect state of civilisation at its apex. Modernism in the Arts and Architecture was broadly speaking aligned with this perspective in the 20C. Any thinking succeeding this point of perfection would therefore be of a lower order, largely filling in the gaps and carrying though ideas originating in the late 19th Century. However, the first 20 years of this century have been disrupted by three far-reaching crises: the 2008 Financial crisis, the ongoing Climate Emergency, and the current Coronavirus outbreak. These events have seriously undermined public confidence in the ability of free market liberal democracy to deliver solutions to these complex issues. In the need to enhance and protect the main social and economic structures, governments have adapted to state intervention in various forms. Free markets, so confidently espoused in the 1980s, are no longer perceived as the solution to the most pressing crises. The “End of History” itself has perhaps come to an end. It is precisely these circumstances which we must respond to and determine what form academic thought should take
“After the End of History”. How we will develop our thinking over the next twenty-five years is particularly important to both our current students, and those who are departing the school to begin their professional careers. If we can free ourselves from inherited pyramidal perspectives, 21st-century thinking could be liberated to begin in earnest. The second, Post-modern, perspective to the past closely critiqued the Modernist project. Although this at first appeared promising I would suggest that this intellectual framework is far too limited for our century for two reasons. Post modernism too closely saw its agenda and justification as a critique and rejection of the past (Modernism) and thus unconsciously fell into the trap of repeating the failings of Modernism (rejecting the past). More seriously Post Modernism came at the expense of a tangible engagement with contemporary cultural innovation and technology of our own century. Consequently, historical precedent could not be not actively engaged, informed and harnessed to current research and innovation. Post-modernism could never freely engage with the present. In contrast to both these approaches there exists a third perspective, Continuity, which allows for the continuation of history precedent into the future. Perhaps the first well documented account of this approach here in the UK was by the architect Sir John Soane (1753-1837). In his Royal Academy lectures Soane espoused a critical approach to the past that carried forward a curated body of historical principles as his theoretical foundation. It was to this foundation that Soane attached his own experimental and innovative approaches. ‘By referring to first principles and causes, the uncertainties of genius will be fixed, and the artist enabled to feel the beauty and appreciate the value of ancient works, and thereby seize the spirit that directed the minds of those who produced them.’ (2) In basing his design on historical principles, Soane combined precedent with innovation to produce architecture relevant to his own time. More recently, in the late 20th Century, it was Dalibor Vesely who promoted the need for thinking based on Continuity (3).
Vesely ingeniously sidestepped the postmodern to realign past and present in a complex search for unity. As we look forward to the unfolding 21st Century it is obvious that a reconciliation will need to be made between inherited practice and the new opportunities made possible by unfolding research, innovation and technology to create a sustainable context in which to advance our society. This project is the third perspective, Continuity. The current willingness to engage in international cooperation across borders on medical research into health could become a pattern of thinking applied to other shared issues such as technology, climate, design, lifecycle, in short, the Arts and Sciences. This cooperation has been facilitated by a newfound desire to use innovative technology for communication which was perhaps resisted or under employed previously. I am delighted to report that we will be working with Tongji University in Shanghai over the next year on a joint design research project. More widely, this cooperation could be the start of a new golden age for universities based on international partnership, innovation and research. The work in this publication celebrates the work and achievements of the Architecture, Art and Design students of the University of East London. All of this work is founded on exploring ideas around sustainability as a shared theme for this year. This book is by necessity the briefest assembly of many ideas, the briefest glimpse into our unfolding of knowledge and values. It assembles our playful experimentation but playful experimentation related deeply held values. I am also very grateful for the support given to us by many sponsors and practitioners. In particular I would mention the STO Foundation, sponsors of our international lecture series. I would also like to thank the practitioners who contribute to the national lecture series including the Architecture Society lecture series, the Detour Ahead and the Art Lecture series and who visit for crits and reviews. These lectures have considerably enriched the thinking that drives our work. I would like to thank the students who have assisted with these societies including the presidents of the student society Dominika Kupczykand Jared Kaleta
with Teodora Manolescu, Harry Zimmermanand Natalia Labuzinska . We would also like to thank our student ambassadors Sachini Heenatigala and Laila Rose Kricha. We are also very grateful to the practitioners who have been mentoring students and offering placements on the RIBA programme and on their own account. In particular we mention Sir Robert Mc Alpine, British Land for their continued mentoring and sponsorship of an excellent student competition in particular Charles Horne and Jeff Tidmarsh for their excellent support and expertise in leading the competition. At the core of our teaching philosophy is the relationship developed between staff and students and the play of the design process. Students are taught in small groups, one to one, in studios, in workshops, and lecture halls and now on line. Our project work follows a systematic pattern of investigation, experiment and innovation. I would like to thank all the staff and students for their excellent work this year and for adjusting to the Covid crisis with such energy and skill. Lastly, I would like to congratulate those students leaving us on their work and wish them every success. I am reminded that our word University derives from the Latin Universitas meaning whole or community. Please stay in touch with us. I hope in your professional life you will be able to work within the third perspective, be able seize the spirit of the past as well as the future, to harness history, research and innovation to fulfil your own potential and the potential of our new century. Carl Callaghan BA (Hons) Dipl RIBA Head of Department Architecture and Design Notes 1 Francis Fukuyama, see the introduction which gives a reflection on his original article. Francis Fukuyama, The End of History and the last Man, page xi (The Free Press, 1992). 2 Soane’s first lecture to the Royal Academy D. Watkin, Sir John Soane: The Royal Academy Lectures, (Cambridge, 2000) 3 Dalibor Vesely (1934-2015) see Continuity (Architectural Association, 1982).
P9 Introduction
Head of Department A+D
RESEARCH
Photograph: Studio Bark
Architecture and Research Two words that build new knowledge Alan Chandler
We are in the heart of urban regeneration activity in East London, our location provides a very contested, socially diverse context that inspires much of our research focus. It acts as a catalyst for convening multidisciplinary research around the critical question of how change impacts community and environment, and how the benefits of that change can be focused and harnessed. From this catalyst a multidisciplinary research team has evolved that reaches beyond the boundaries of the university campus to co-produce locally-contextualised and, most importantly, solutions-based research within multiple knowledge-exchange and innovation partnerships with industry, government, universities and the public. Whilst shaped by our locality, research outputs resonate globally across the 21st Century’s industrialised city and managed landscapes. This includes international collaboration at the EU and UN levels, ranging from major inter-governmental bodies to regional and city councils to small local community groups.
The strength of our research comes from partnerships across disciplines both within UEL (environmental science, materials science, architecture, landscape, social science, engineering, fine and performing arts) and beyond. Our transdisciplinary approach to solutions-based research has been central to the success of this research collaboration. We operate a non-hierarchical, collaborative structure that values all contributors equally, bringing opportunities for our postgraduate students and increasingly our undergraduates to support and benefit from research development, acknowledging that our near-future society will be creating participatory relationships rather than exclusive knowledge. The vehicle for engaging our students – from year 1 to year 4 is a form of design activism – the live project. We convene between 4-8 design/build workshops annually, the legacy of which has since 2009 delivered over 90 collaborative projects bringing in over £110K, delivering birdwatching hides/urban gardening for schools; social spaces/facilities for charities, NHS Trusts and community groups; public consultation events for local authorities; socially beneficial projects with architecture practices as well as research projects for staff and \PhD students, even winning a Silver Gilt at the 2009 Chelsea Flower Show.
Our work is guided by the principles of “sustain, retain, restore, re-use and transform” which are applied, either explicitly or implicitly, across every aspect of our work. As impact drives our research. We operate on the basis that traditional boundaries between disciplines are wholly transparent because genuine action on sustainability requires the integration of social, environmental and resourcebased actions in defining environment, place and living space, as well as maximising social return on research investment - all within the context of a climate emergency, made all the more acute within a global pandemic.
Alan Chandler
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Our architectural research is driven by the needs of, and directly assists, groups ranging from local communities up to and including international and inter-governmental agencies such as the United Nations through the work of our staff, often our students, our alumni practices and our collaborations with the UEL Sustainability Research Institute.
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The workshops enable our students to engage with a diverse range of people and places to support knowledge exchange, place transformation, design for change and ongoing research. The work of our students has been integral to journal papers and books, as well as lectures and workshops in the UK, Canada, Germany, Italy, Belgium and Chile. Our project with Studio Bark this year to prototype and fabricate self-build components generating ‘protest architecture’ for the 2019 XR rebellion in Trafalgar Square was reported globally. We also engaged with the Charity Shed Life in Barking to co-design a community building for vulnerable senior citizens and excluded young people, enabling crowdfunding and submitting a planning application for construction by our students and volunteers in 2021. Projects like this are at the forefront of what UEL calls ‘Mental Wealth’, in curriculum experience of live issues that affect communities, and that the innovation and enterprise of staff and students can collectively address and change.
Photography by Joe Giddings and Andrew Whatty
Our architectural teaching explores how we innovate to respond to situations and opportunities that confront the digital generation that owns the world on a phone, but need us to frame that endlessness to achieve real social and environmental change in real time, right now. What follows is a series of impact driven case studies, stories of the work by our staff that actively informs our collective and collaborative teaching environment – Anna Minton, Bridget Snaith, Heba Elsharkawy, Maria Segantini and Claudia Palma articulating our commitment to research into the housing crisis, making community housing sustainable, making public space culturally equitable, making provision for disadvantaged citizens.
The Production of Heritage Alan Chandler and Michela Pace, Routledge 2019
In this important book, the authors unpack the theoretical and practical issues around the development of heritage sites, critically dissecting key conservation benchmarks such as the ICOMOS guidelines, BS 7913 and the RIBA Conservation Plan of Work to reveal the mechanics of heritage guidance, its advantages and conceptual limitations.
Underpinned by an active understanding of the conservation philosophy of William Morris, the book presents five case studies from the UK and North and South America that speak about different facets of heritage value, such as urban identity, commodification, authenticity, materiality and heritage as an intellectual and ethical framework. Heritage is never neutral; its definition is privileged yet its influence is political. Art, landscape and archaeology all offer examples of how the operational ideas of adjacent disciplines can influence an integrated idea of heritage conservation, and how this is communicated in order to determine significance and share in its custodianship.
This book provides insights into how to identify and challenge these limitations, expanding inclusion by describing tactics for changing how people can relate to and build on the past. Clearly written for all levels of readership within the conservation professions and community custodians of heritage buildings and places, the book provides strategies and tactics for understanding the heritage significance of materials, their fabrication, detail and use. The narratives that historic fabric contains can help shape the meaningful involvement of local people, providing a roadmap for those navigating the double-bind of using the past to underpin the future.
Michela Pace is a researcher at the IUAV University of Venice with international experience in the fields of urbanism. Her work focuses on the rising centrality of the ’heritage’ rhetoric within processes of urban financialization in Western and Eastern global cities, especially regarding real estate activities and the phenomena of land privatization and gentrification. At the same time, she deepened her understanding of community-based research, approaching notions of memory, legacy, patrimony and tradition, and collaborating with a different spectrum of partners including local communities and schools, councils and policymakers, international NGOs, charitable foundations and private clients in Italy and the UK.
alan chandler michela pace
Alan Chandler is a founding director of the architectural practice Arts Lettres Techniques with Luisa Auletta, working consistently on the interface between contemporary design and conservation since 1993, when fabric formed concrete casts weighing several tonnes were taken from the portico of Hawksmoor’s St George’s Church in Bloomsbury to create a site-specific installation while studying at the AA. His early engagement with questioning material and heritage value has persisted, with expertise in conservation accreditation and award-winning projects in the UK and Chile maintaining a focus on how politics and cultural perception connect with material and philosophical conservation. He is a reader in architecture and currently leads research in architecture, computing and engineering at the University of East London.
The book reflects on the meaning of ‘fabrication’ (of the city, memory, identity, value) within the neoliberal city, in particular how the retreat of centralised heritage management leaves a 9 780367 078003 vacuum of custodianship that communities are increasingly having to fill – but with little support. When policymakers or communities choose to remember, do they preserve historic architectural evidence as a form of cherished redundancy, or actively participate in the physical traces of previous activity and identity? We ask if our cultural identity is founded on what we no longer do, or what we continue to achieve? The danger present here is that the role of custodian becomes adopted by agencies of development that redefine heritage in their terms, for their benefit, leaving communities to look on as their surroundings radically change, while staying strangely familiar. The guidance published on Heritage Area assessment and value building is critically dissected, the presumption in favour of development is challenged – not to challenge development per se, but to question the nature of its benefit, and for whom. Understanding how to read guidance and reveal assumptions is vital for professionals and communities alike. ARCHITECTUR AL CONSERVATION
the production of heritage the politicisation of architectural conservation
ISBN 978-0-367-07800-3
www.routledge.com
Cover image: Detail of the Marble Hall, Clandon Park. Photography by the authors, 2019. Courtesy: National Trust.
Routledge titles are available as eBook editions in a range of digital formats
alan chandler michela pace
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“The conservation of buildings is messy and complicated. The philosophically led decisions that seemed easy to make in the office are almost always harder to implement when the project becomes a live building site. I welcome this book because it embraces those challenges and shows how a thoughtful architect can find practical solutions that remain true to the original design principles. It also demonstrates that the tenets of conservation philosophy proposed by William Morris remain valid today if we choose to care for our heritage in a way that puts people at its heart.” – Sara Crofts, CEO, Institute of Conservation
the production of heritage
Heritage is defined and produced legally through international charters, codes of practice and protection frameworks under national and international law; technically through accredited training in material performance and technique; educationally via specialist programmes transferring knowledge from technical and legal agencies to interested parties – an exclusive circle. What is not defined is how social responsibility in building conservation is enabled, or how conservation decisions are actively informed by community engagement. Do practitioners and their clients who invariably steer heritage-based development understand and nurture its intangible potential or simply enact technical ‘protection’ of negotiated pieces of built fabric as part of a financial development? How easy is the generally accepted notion of history as a ‘common good’ open to exploitation for other motives?
The Place of Housing in Modern Life; Our Happy Life
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Anna Minton
Following on from Big Capital: Who is London for? (Penguin 2017), Anna Minton has continued to write about the housing crisis for academic and mainstream publications, in particular the Guardian to which she is a regular contributor. Her chapter, The Place of Housing in Modern Life, was published in Towards a Spatial Social Policy, a multi-disciplinary collection published by Policy Press in November 2019.
The Architecture Foundation invited her to write the programme notes for PUSH, the international film about the housing crisis which premiered at the Barbican in the autumn of 2019 after which she hosted the Q&A with the film’s director, Fredrik Gerten. In February 2020, she took part in a further panel discussion about the film, alongside the UN Special Rapporteur on Adequate Housing, Leilani Farha.
In October 2019, the Canadian Centre for Architecture invited her to Montreal, to take part in a discussion filmed to mark the end of their exhibition, ‘Our Happy Life. Architecture and Well-Being in the Age of Emotional Capitalism.’ Participants in the one-hour film alongside Anna include Andre Spicer, Professor of Organisational Behaviour at the CASS Business School.
As events shifted online, she took part in a number of virtual panel discussions, speaking at the virtual launch of Bob Colenutt’s book, The Property Lobby, and took part in the Urban Vision Manifesto webinar series, in discussion with Larry Beasley, the former chief planner of Vancouver. In November 2020 she will deliver a keynote at the AHRA International Conference.
Posthuman Urbanism Debra Shaw
Urbex photography: MF01 train passing through abandoned platform of Victor Hugo station on line 2 of the Paris Metro, France.Credit Aaron Coe.
Posthuman Urbanism describes an orientation towards the city which questions the assumption that social structures are ‘natural’ while examining the ways that particular bodies have historically been deemed less than human and thus excluded from the public life of cities. Informed by science and technology studies and attuned to the way that contemporary digital culture confounds received ideas about corporeality and the inhabitation of space, posthuman theory offers the potential to think beyond the boundaries of existing knowledge about the relationship between bodies and their environments. Posthuman Urbanism proposes that a more egalitarian city can emerge from re-thinking architecture through revised concepts of both embodiment and inhabitation. P15 RESEARCH
In February, Debra Benita Shaw was invited to speak at Housing Matters #4 // An Alternative Urban Politics held at Open House Oxford, a public talking shop on housing and homelessness where she led a discussion on the politics of exclusion in urban discourse. In September, she was invited to present at a symposium organized by the Manchester Architecture Research Group, The Doubling and Disappearance of the Body in Architecture where she introduced the concept of ‘Vitruvian Mantology’ which is designed to expose the raced and gendered assumptions which determine functionality in housing design. These ideas develop proposals first introduced in her book Posthuman Urbanism: Mapping Bodies in Contemporary City Space, published by Rowman & Littlefield International in 2018.
Urban Fox, East London 2014. Credit Rhian Louise Vacciana.
“Just Landscape? Diversity, Ethnicity, Representation”
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International Conference organized by Dr Bridget Snaith
In Black History Month 2019, UEL hosted the interdisciplinary conference, “Just Landscape? Diversity, Ethnicity and Representation”. The conference, organised by Dr Bridget Snaith CMLI, and supported by the UK Landscape Institute, raised issues of racial and ethnic equity in landscape space, and in the professions engaged in its creation. Although public spaces are often described as open resources for community interaction and social integration, urban parks, squares, and rural landscapes are not unproblematically and equally open to all. The lockdown this spring during Covid -19 has perhaps brought issues raised in the conference more sharply into focus - the value of outdoor spaces to our personal wellbeing, and also the huge inequalities that exist for many people from black Asian and ethnic minority (BAME) backgrounds, in health, and access to open space.
He illustrated a number of recent Hood Design Studio commissions, bringing forward representation of black lives and histories. One project, the ‘Double Sights’ monument, was a response to a controversial commission from Princeton University to memorialise Woodrow Wilson The experience of enforced ‘double -consciousness’, was his starting point. ‘Double Sights’ is a landmark structure of towering slabs, white supported by black, inscribed with texts that both acknowledge the previously dominant narratives of Wilson as the progressive founder of the League of Nations, and also provide counter narratives from Wilson’s writings and the voices of his contemporaries, exposing his racism and misogyny. Hood argued that rather than erasing reference to controversial figures, we should instead work to publicly expose unpleasant truths, to provide space to open the conversations we need to have.
The first keynote, speaker Walter Hood In his paper “In Plain Sight” addressed racism directly, he related his experiences of racism in everyday and professional interactions, and in built urban spaces, places that largely deny a present that is built on a past of slavery and racial oppression. Hoods practice portfolio spans major institutions such as Cooper Hewitt Museum NY, and community projects like Curtis “50 Cent” Jackson Community Garden New York City. He is Professor of Landscape Architecture at UC Berkeley (USA).
The second keynote, Ingrid Pollard’s paper “The Importance of Si -te /-ght” included discussion of some of her well known works , her interest in landscape and countryside as places of production and labour, and of traces, erased stories, displacement, connection and belonging. Pollard is a multi-award-winning British photographer, artist and researcher, with works held in major collections, and exhibited nationally and internationally. Including: Self Evident, Wordsworth’s Heritage, Belonging in Britain, Heritage Stories, and Oceans Apart.
Walter Hood, Double-Sights, photo: Princeton University, Office of Communications, Denise Applewhite
The third Keynote presentation was given by Vron Ware Professor of Sociology & Gender Studies at Kingston University. Ware’s books include “Beyond the Pale: White Women, Racism & History”; “Out of Whiteness: Colour, Politics & Culture” (with Les Back); and “Who Cares about Britishness?”. Her paper “Nothing natural: landscape at the heart of identity.” was wide ranging, exploring how landscape and nature are commodified in advertising, marketed to sell housing developments; how nature is portrayed as located in a place elsewhere, rather than being the environment that surrounds us; about values of nature in the contemporary life of ethnically diverse communities. Her paper launched the final session of the day, Landscape & Representation.
A list of speakers and papers presented and at the conference is below. Keynotes Walter Hood: “In Plain SIght” Ingrid Pollard: “The Importance of Si -te /-ght” Vron Ware: “Nothing natural: landscape at the heart of identity.” Strand 1 Diversity & Inclusion in the Urban Landscape Clare Rishbeth, Dominika Blachnicka-Ciacekb and Jonathan Darling, UK : “Participation and wellbeing in urban greenspace: ‘curating sociability’ for refugees and asylum seekers.” Hildy Steinacker, UK: “‘Desirable green’: Informing design guidelines for inclusive restoration in small urban green spaces.” Strand 2 Increasing Diversity in Landscape & Built Environment Professions Diana Chrouch, UK, Chair Diversity-Worshipful Company of Constructors: “Disempowerment in the Built Environment? It’s time for change.” L Mhari, Elinor Scar, UK: “A landscape of one’s own? Feminism in the field of Landscape Architecture.” Invited Panel Discussion: “Supporting Diversity in Landscape & Built Environment professions.” Akash Wadhawan, David Ubaka, Diana Chrouch, Elinor Scar, L.Mhari, Chair, Sam Perry, Landscape Institute Diversity & Inclusion Group Strand 3 Landscape & Representation H. Ela Alanyalı Aral, Deniz Altay Kaya and Reem Chariff, Turkey/UK: “Visibility of Migrant Communities in Urban Spaces: Önder Neighbourhood, Ankara.” Maxwell Ayamba and Maxine Greaves, UK: “Contested Landscapes: Race and countryside spaces - Black Men Walking.”
Ingrid Pollard, photo: Mark Pinder (2013) from WALK ON: Art Walking in Northumberland hosted by Visual Arts in Rural Communities (VARC)
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She shared experience and works from recent commissions and residencies in the north of England and in rural France, accompanied by her beautiful, complex photographs, exploring portraiture, the body, landscape, dress and connections to other times and places.
Newham Research Projects and Live Design Projects
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by Dr Heba Elsharkawy
Dr. Heba Elsharkawy, Reader in Architecture, Cluster Leader for Architecture and Design and Programme Leader for BSc (Hons) Architecture has been working in collaboration with Newham Council since 2016 on several research and live design projects. This collaborative work resulted in publishing two journal articles in high impact journals (Energy and Buildings, and Buildings and Environment) as well as publishing and presenting at various national and international conferences; PLEA 2018, SDBE 2017, BSO 2018, SDBE 2018, and BEYOND 2020. The research also helped Heba served as a member in the Steering Group for Newham’s Lloyds Construction Skills Centre. She has also been personally invited by the Mayor of Newham to the London Borough of Newham Community Wealth Building Strategy Launch event in January 2020 and was also invited to contribute to Newham Citizens Assembly on Climate Change held in February 2020.
Project 1: Retrofit of Council Housing in Newham, London Research led by: Heba Elsharkawy and Sahar Zahiri in collaboration with Newham Council Recently, retrofit of tower blocks has gained momentum particularly in the UK social housing sector due to the increasing rate of fuel poverty coupled with deteriorating indoor living conditions. However, the process of making improvements to the thermal performance of building envelopes can significantly impact on occupants’ thermal comfort, increasing overheating risks with the changing climate and associated heat waves. The first phase of the study evaluated the building energy performance of a 1960s social housing tower block prototype in Newham, London, pre-retrofit, where the building simulation model was created and calibrated with monitored indoor data and occupants’ interviews. The second research phase, used the model to further investigate the impact of improved thermal insulation of the building envelope, based on U-values prescribed by the UK Building Regulations (Part L1B), on the potential risk of overheating. The study investigated the impact of retrofitting on occupants’ thermal comfort and building energy performance in the current and future climate scenarios (2030, 2050 and 2080). Results confirmed that improving the U-value of external walls will significantly reduce the heating energy use by 70% under future climate scenarios while the operative temperature increases by 15–17%. The study demonstrated the significance of occupancy patterns in predicting building energy performance, and hence overheating risks as well as heating energy demand. The findings showed that if thermal performance and airtightness level of the building fabric improve without considering multiple occupancy scenarios for different households, this may lead to inaccurate predictions of overheating risks, and hence retrofit interventions that may potentially cause complications in climate change scenarios.
Research led by: Heba Elsharkawy and Haitham Farouk in collaboration with Newham Council It is acknowledged that people spend almost 90 percent of their time in indoor spaces. Therefore, achieving a comfortable indoor environment that encourages productivity is crucial, particularly in office buildings. This research investigates the design and performance of a modern office building in London characterized by fully glazed facades of open plan office spaces with no natural ventilation. The purpose of the research is to investigate the correlations between the control of direct solar radiation access and the effect on occupants’ thermal comfort in the summer followed by assessing the potential effect of the application of passive solar shading on thermal comfort levels in the office spaces. The research methodology involves a survey questionnaire undertaken with employees of the office building, followed by dynamic thermal modelling of the building using Integrated Environmental Solutions (IES) software. The questionnaire has been designed to understand occupants’ experiences within their office spaces and their strategies to improve the indoor environment. Furthermore, IES modelling and simulation provide in depth understanding of the building thermal performance and investigating the solar shading strategies. Overall, 66 questionnaire forms were completed where preliminary results demonstrated that most employees relied heavily on secondary cooling and heating systems to adjust the indoor air temperature for more satisfactory thermal comfort levels in their office spaces. The building modelling and simulation was used to quantify the direct solar radiation accessing the office space, the risks of overheating and the potential impact of solar control on occupants’ indoor comfort. The findings from this study demonstrated the high hours of discomfort in the summer within the office spaces mainly due to the lack of control of direct solar access through the extensive area of glazed facades.
Project 3: Live design projects for BSc Architecture and BSc Architectural Design Technology Heba has also been working closely with Newham Council since 2016 on allocating live project sites and design briefs for students to work on. In 2016/17, students worked on redesigning the Royal Docks Learning and Activity Centre in North Woolwich where they presented their design schemes to the users of the centre and received feedback with regards to their individual design schemes. In 2017/18, Newham Council team allocated Plashet Road for a Mixed Use Development of a nursery, leisure centre and 2 and 3 bedroom flats. The team facilitated the site visit and survey and introduced the project brief. The students designed the projects and presented their schemes to Newham Council team and the commissioned architect team. In 2018/19, Newham Council team provided a challenging site in Eastham (Hathaway Crescent) for an affordable housing scheme, where the students took into consideration sustainable design which complies with building regulations and London Design Guidelines. This year, Newham Council team identified a site in Silvertown (surrounding the Millenium Mills) for a mixeduse design project scheme. The students were supported by Lendlease, as the site developer who facilitated an exclusive site visit and MM roof top visit, and AHMM practice, as the site architects. AHMM contributed to the project reviews and facilitated a visit to the practice for students. All design schemes were presented to the Newham Council team and architects where the students were commended for their design efforts.
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Project 2: Improving occupants’ comfort in Newham Dockside Building
What is Behind What We Take For Granted Plato for Architects Renée Tobe
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Renée Tobe presented a talk entitled: What is Behind What We Take For Granted at the AHRA funded CineMuseSpace: A Cinematic Musée Imaginaire of Spatial Cultural Differences Conference in Cambridge University in September 2019. This talk described a 3D point cloud digital scan of a very domestic space of the everyday, the suburban kitchen, complete with thermal scan of the kettle about to boil. Ordinary people do ordinary things without thinking, planning, or strategising. Why would we require a sophisticated technological map of our kitchen to find out how to make a cup of tea? We don’t think of these things with our mind; the body knows by instinct where to reach for the teapot in the cupboard, how to fill the kettle, where to find the tea canister. Point cloud scanning of the Children’s Theatre in Kazan, Russia created an ethereal place of performativity. Rather than a screen that both surveys and controls us, laser scanning allows ‘watching’ through walls, floors and ceilings. This juxtaposition of spaces not thought about reveal themselves in the thermal scan that shows the television on the other side of the wall, the pipes running beneath the floor boards, dappled light from a nearby tree, a place where someone, perhaps waiting for the kettle to boil, stood for some minutes and has now left the room but left a warm trace of human presence on the floor. We do not ‘see’ heat and thermal imagery gives insight into a familiar world. The familiar first becomes triangulated into something entirely uncanny, then, substantiated and digitalised. For example, in the reconstruction of the Glasgow School of Art, crowd sourcing was used to glean as many photos from previous students as possible, pictures that people thought were ‘everyday’ but suddenly became useful in the reconstruction. We need each fragment, or data point. Renée is also writing the Plato for Architects book in Thinkers for Architects series published by Taylor and Francis. The aim of Plato for Architects is to continue the Thinkers for Architects series with one of Western philosophy’s most influential thinkers. Plato examines the nature of thinking itself, which is the basis for design and architectural decision-making. Plato asks what it means to know, and how we can ever communicate what we know to others. Excavation
through layers of Western thinking identifies two distinct paths for architects and urbanists both of which trace their origins back to Plato. In the first lie buildings based on formal geometry, centrally planned ideal cities, Utopias, urban typologies, the structured language of the new order of the French Republic and the architecture of 20th century fascist regimes. The canonical texts of urban design that describe forms of communicative and community life or combinations of urban elements to enhance our existence follow the second line of thought. This book examines both these paths along with the Cave metaphor, the Divided Line and the nature of creation. It also provides suggestions for further reading about how thinkers and designers have been influenced by Plato, and how this affects our current thinking about ourselves and our cities. Many contemporary structures whether in politics, urban design or education find their origins in the Platonic dialogues. The aims of the book are to extract the points relevant to architects and the objectives are to deliver them in a manner that informs our thinking about architecture, and how we practice it.
Renée Tobe, History and Theory Coordinator, UEL
Design Emergency - Migrant Living Community Kitchen MA Interior Design, Claudia da Palma Romao
Addressing the urgent and emergent topic of migrant living, through a specific real design exercise, students were asked to explore how space and design have the social responsibility to provide opportunities for integration, participation and empowerment in individuals with different social and cultural contexts. Questioning architectures of (im)permanence, and how transient design could be a variety of things: different uses, built one day and disassembled another, or spaces that house impermanent populations or respond to temporary phenomena or needs, such as climate change, war, domestic violence, or for example the now so real, pandemics.
Kitchen”. The concepts of nomadism and migrant living are also applied in these community kitchens, being an entirely mobile “structure” which could travel to different places SDCAS’s sites, markets, or other public events). This space aims to promote the celebration of “Food” as a cultural mechanism (ie. celebration of specific religious/ cultural festivities of the nationality involved), and as an experimental method for the “after asylum phase”, where in a short period of 2 weeks Refugees (new status) have to find work - and where Food could be the vehicle for their integration into the host society.2 Notes 1 Gul Kacmaz Erk (senior lecture and programme director in Architecture at Queen’s University Belfast) in his presentation introduction “Everyday Practices and Lived Spaces of Refugee Children on Youtube” at “Slices of Everyday Lives” Conference, September 2019, Cambridge University. 2 SDCAS was founded in early 1996 as a practical response from local church leaders and community activists to changes in government policy that resulted in an increase of poverty, distress and homelessness amongst asylum seekers and refugees. http:// www.sdcas.org.uk/about-us.html
UEL Volunteering Awards 2020 Platinum Award
Working together with Southwark Day Centre for Asylum Seekers SDCAS (with the mission of supporting asylum seekers and refugees falling into destitution) we have examined the basic needs and social programmes with the larger role of promoting wellbeing, integration (post-trauma) and a more inclusive community. Being devoid of kitchen facilities in the SDCAS accommodation centres, and with all meals provided by outside (insipid) sources (which has been a major recorded complaint) - in a reality where asylum seekers permanence could last from 1 day to a year or more - the MA Interior Design has explored the theme of “Food” as an opportunity to rethink strategies of care, nourishment and identity, through a series of design proposals for a “Community Modular system study by Ayca Audin, MA Interior Design student
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Right to Life, freedom, security, equality, justice and privacy are amongst the basic Human rights articulated in the United Nations Universal Declaration (www.humanrights.com). While these concepts are easier to define for a long-term member of society, they are more complicated for new minorities who are forced into displacement because of conflict, war, climate change, economy, etc. There are more than 65 million displaced people worldwide, more than two-thirds of these people come from Syria, Nigeria, Iran, Afghanistan, Iraq, Ivory Coast, among others (see annex 1). Whether they perceive it as permanent or temporary, refugees stay in their new home for an average of 26 years (www.unhcr. org/576408cd7.pdf), which urges the need for integration and inclusion.1
German Design Award 2020 Carlo Cappai and Maria Alessandra Segantini
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With the design of the 13,500 sqm of the Piazza del Cinema in the Lido of Venice, Carlo Cappai and Maria Alessandra Segantini who lead MArch Unit 5 have won the German Design Award 2020: bit.ly/ADYearbook-GDA. Cappai and Segantini design the new public space sewing together the three elements which create the identity of the site: the historic and listed buildings of the Casino Palace and Venice Cinema Festival Place and the non-maintained existing park. They connect them with a white, continuous stone-made public space, which aims to enhance the dimension of the former historic public domain, unifying the two buildings with the park and bringing back the memory of its original design, testimony of the splendour of the Belle Epoque. The square is heightened from the original level to allow the view of the sea, collect the water that is then reused to water the garden. The square is entirely designed using the monochrome Apricena stone. The use of a monochrome surface for the whole public space confirms and underlines the strengths of the dimension of the public space, avoiding the fragmentation of the use of different materials and enhances the graft of the historic green spaces which were maintained. The design of the materiality of the rolled or sanded pieces of the stone, the water drainage system and the fountain- designed as thin cuts and shadows on the white surface of the stone, the brass or varnished steel railings, the benches in reconstituted natural marble stone, the newly planted and autochthonous maritime pines and the sinuosity of the garden- which is designed as a symbol of a third building which was meant to complete the square but was never built: all these element are designed as accents in the continuity of the monochrome materiality, solid in terms of long-term maintenance. As for the garden design we always design recognizing the principles of biodiversity through a series of different actions using plants that are local, adaptable and able to handle change, choosing plants that cover an array of unpredictable outcomes (flowers present in different seasons, fruits, etc‌) combining plants that bring diversity in the outdoor
space, preserving grown-up existing trees as much as possible. In this case we have replanted maritime pines, which are typical Italian coastal trees as well as hackberries, very typical in the Venice lagoon and home for some of the local bird species. Both trees are not requiring special maintenance. These principles allow the community to locate the intervention in relation to their local memories and mental maps. The square, designed on the aim to serve the Venice Cinema Festival, is invisibly infrastructured to potentially allow the activation of events during the other months of the year, but especially to give back a free public space to the inhabitants of the Lido island: mums with prams, skaters, kids playing with the water fountain, old people relaxing under the shadow of the trees and watching the sea. Cappai and Segantini are proud to have contributed to give back the citizens a part of the city. We strongly believe in the power of a free, well-designed public domain to be activated by people, their memories, their dreams and their experiences. The project was published worldwide.
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Cappai and Segantini win two more competitions for schools and gets planning permission
Carlo Cappai and Maria Alessandra Segantini who lead MArch Unit 5 win two international competitions for the design of two schools in Italy. Since 1998, Cappai and Segantini have started to look into the school building typology. After sharing these ideas through conferences, symposia, publications and built work, our schools have contributed to change the Italian codes when designing school buildings.
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Grafted in the beautiful and protected landscape of Villa Paglia, the new Alzano Nursery School, is a space where nature and light flow inside the light thin structures of the facades, made of steel and glass tiles. Descending from the main street thanks to a playful ramp grafted in the garden, the kids reach a giant inner ‘salone’, filled with natural light. A space where multiple activities can happen at the same time. The salone itself is grafted by two inner glazed courtyards, which bring the light in the depth of the building. The search for light not only happens through the courtyards. The school becomes a sort of structure for light: the facades facing the garden are defined by a series of big windows, which can be shadowed by curtains inside the facade itself. The walls of
Alzano nursery school
the classrooms are big windows facing the inner salone. Finally the roof is providing deep roof-sheds, enhancing the inner space, which can be considered a ‘covered piazza’ for the kids. As in all C+S schools, they have been able to erase all the inner corridors. In Alzano nursery school, the space shapes a pedagogic idea of sharing ideas and activities among the kids, the teachers and the families to build up a sense of community. ‘We are proud to have given back to the citizens of Alzano Lombardo the possibility of playing again inside the beautiful protected park of Villa Paglia creating a space where the park can flow through so that the kids can grow in a sustainable green community. We have transformed another school into an ‘Italian piazza’!’ Ravarino Secondary school houses ten classes for a total of 250 students. The labs, the music room and the generous entrance hall are all hybrid spaces opened after the school hours. All these spaces contribute to turn the school into a centre to be activated by the community, empowering the sense of belonging and identity of the families and the kids. Both schools have obtained the planning permission and are presently under construction.
Anachoresis Venice Architecture Biennale Cyprus Pavilion 2020 at the 17th International Architecture Exhibition
Living-Together, especially idiorrhythmic LivingTogether, implies an ethics (or a physics) of distance between cohabiting subjects. —Roland Barthes, How To Live Together Anachoresis addresses distances as a point of reference through which to approach architectural and cultural paradigms, which give rise to new socialities. The negotiation of distances and rhythms necessary for living-together has all at once taken on new dimensions. What is the vocabulary that emerges, and what are the spatial experiences that occur through this process? Taking Roland Barthes’s elaboration of the notion of anachoresis as a starting point, and looking past the negative connotations of notions like distancing and alienation, the idea of anachoresis is proposed here as an alternative. Being an abrupt jolt of departure, anachoresis is seen here as an act that takes up space at the threshold between the outdoor–public and the indoor–private space.
The indoor (interior) space becomes a structural challenge that acts as a bridge between one’s inner self (interiority) and the everyday spatial experience. Anachoresis proposes a horizontal site-specific installation, scaling-up the unifying agent and most social object of interior living, the table. Given a modular and quasi-monumental form that is inspired by the differing scales that we come across during a walk in the city, it becomes in itself an archive of scales. It adapts to a seductive reversibility between the outside and the inside, and—by suggesting a micro-urbanism of cooperation—puts our daily acts and typical behaviours into question. Through the addition, subtraction, staging and restaging of everyday objects on the table, the latter is transformed into a substructure that enables one to comment, re-interpret and re-pose the question of how a gathering space is constructed. The installation design incorporates local architectural idioms and materialities, exploring how a multiauthorial approach can empower architecture to produce novel forms of locality. Furthermore, the incorporation of movement (dance-as-design) and sound (broadcasting platform), idiorrhythmic temporalities within the “proportions of a fantasized community”, produces tools for the design of spatial protocols for (communal) interiors to come.
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Curators: Nasios Varnava (UEL), Era Savvides, Marina Christodoulidou, Evagoras Vanezis Organisers: Cyprus Ministry of Education, Culture, Sports and Youth – Cyprus Architects Association Commissioner: Petros Dymiotis Deputy Commissioner: Angela Skordi
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Sustainable Materials Research: Cork
At UEL, our teaching and research centres on the role architecture plays socially and materially – the connectivity of these two aspects of building fascinates us. Not only do materials facilitate the making of the spaces we inhabit, they are also the evidence of wider socio-economic and political relations. Where materials are sourced, how they are transformed into architectural components, how they are certified, marketed, profited from, used, removed and recycled – or otherwise, are fundamental aspects of how we design and specify buildings. Cork has a particular social and geographical heritage, the transformation of the wine industry into an industrialised process has left the often small scale farming of cork forests and the habitats they sustain in jeopardy. Reimagining architectural uses for this incredible, sustainable material has been pioneered in the UK by architects with UEL connections, and is an example of the kind of innovation and sustainable ethics that we promote through and with our student body. Cork House: MPH Architects MPH Architects was co-founded by UEL teaching alumnus Matthew Barnett Howland, current Senior lecturer Catherine Phillips, and Dido Milne. MPH were executive architects for Cork House, winning four 2019 RIBA awards including the Stephen Lawrence Prize for best building under £1m. The house was short-listed for the Stirling Prize, and was the winner of two Wood Awards including the Gold Award, as well as the Manser Medal for best private house. The design for the house was born out of a research project into the structural use of cork headed by MPH Architects, granted by Innovate UK for research into Building Whole Life Performance. Matthew and former UEL student Oliver Wilton also won a 2019 RIBA research award for this work. The RIBA South head of the judges for the awards commented about the project: “Designed with immense attention to detail, Cork House is a structure of great ingenuity…. form, function and footprint are all equally considered and respected. This is a truly well thought through, carefully researched project that has created a home that inspires those that are lucky enough to visit. A noble, momentous model to aspire to.”
Cork Studio: Studio Bark Studio Bark is a UEL alumni practice teaching annually on our live build programme and this year an MArch ‘Unit 0’ (carbon). Committed to innovative low carbon building, they are winners of the Building Design Sustainability Architect of the Year in 2018. In parallel to developing the award winning ‘U-Build’ system supported by UEL students to develop a digitally enabled self-build timber construction system, the ‘Cork Studio’ was a low cost research prototype that eliminates frames, glues, tapes, breather membranes and wet trades – aiming to determine if cork could be used as the primary structure, not simply as a finishing material or rainscreen. The result is a robust, low cost ecological building which is almost entirely biodegradable and zero waste. Studio Bark and MA Interior Design programme Leader Claudia Palma in partnership with Alan Chandler and Professor Darryl Newport of the UEL Sustainability Research Institute are establishing a research project with APCOR, the Portuguese Cork Association to develop a cork based building system to deliver a community building in Barking Riverside for the charity ‘Shed Life’. Designed by our MArch students, this building provides a centre for vulnerable older and excluded young people to meet, gain skills and develop friendships. Codesigned with the users, the building will be fully sustainable and demountable/re-usable and our partnership with APCOR and SRI gives us the ability to innovate using new applications for cork and systematically monitor the building across a seasonal year. A second building will be erected in the cork producing region of Portugal to monitor southern European climate performance as part of a scientifically underpinned research project, with the aim of product development for the cork industry, designed and built with Studio Bark and our MArch students for community benefit.
Above: Cork House by MPH Architects.
Our starting point (Apcor industries)
Above: The Cork Studio by Studio Bark.
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Above: The Cork Studio by Studio Bark.
PEDAGOGY
Convergence in shared purpose: teaching and learning in the climate and ecological emergency Hwei Fan Liang
Last spring, Architecture Declares (AD) and Architectural Education Declares (AED), and in October the RIBA 2030 Climate Challenge and the first open meeting of the Architects Climate Action Network (ACAN) showed an acceleration of actions, collaboration and a coming together of different voices in shared pursuit of addressing the overwhelming challenge of the present day. Within this, schools of architecture need to not only keep up but lead with skills and ideas for the future. We are conscious that this year’s first years will qualify as architects into a radically different world around 2030 – one in which this year’s MArch students will have been practicing in and transforming for several years. In Architecture, each design unit across BSc and MArch set out their approach to sustainability on the first day of term. This foregrounding opened up a year of increased discussion and understanding of what the sustainability question might look like in different studios and project contexts. It set the agenda for guests and critics and for dialogue between students. Across five units in the BSc these approaches encompassed zero carbon to social resilience to local natural materials to urban biodiversity and food production to adaptive re-use. Each unit also produced an accompanying technology and sustainability agenda to guide their design process, and we hope that this starting point will develop into a powerful dialogue between ambition and realisation. One of our “ways of doing things” is the integrated final year project – a proposal for change – seeking synthesis of technical and architectural ideas, and social, political and professional concerns. Year 3 students articulated sustainability strategies as an
early part of their project brief – defining and driving the design process that followed. Workshop sessions with leading industry guests - Karina Williams from British Land and Liz Waters from Sir Robert McAlpine (with thanks to Jeff Tidmarsh) – showed how delivering sustainability and social value shapes both strategy and detail in large projects, as well as engaging students in asking the same questions of their own projects. Responding to the climate crisis is about adaptation as well as mitigation, a challenge which has at its core issues of social equity that UEL has long been concerned with. Buildings and cities need to not only do less damage, but become positive contributors, repairing and regenerating through consideration of water cycle, biodiversity, resource production, health and well-being, carbon sequestration and energy. Our most identifiable tradition is of material experimentation and the process of making as a way of developing and understanding ideas. Second is our careful understanding of place, people and context within which proposals are situated and on which they impact. These established practices can and should be articulated as a way for us to engage with the new-found concerns with resource use and craft, specificity and regionalism that currently pre-occupy industry. As well as design approaches, we must also take serious consideration of the operational impact of studio teaching – including carbon footprint and material wastage. Our teaching staff comprise a mix of academics and practitioners who provide an ebb and flow of ideas and expertise from industry, and bring specific interests and practical experience. There is a convergence too between personal and professional lives, as increasing numbers of tutors are involved in ACAN or AD (sometimes both), and students participate in AED and other activist groups. In this time of urgency, we need to do things differently. Achieving climate literate learning is about much more than initial briefs and agendas, and the real challenge will be in how we go from aspirational ideas to delivering meaningful projects for the future, and skills for graduates to take with them into the workplace. We are learning and moving forward together.
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In September, representatives from 27 universities met for the inaugural Technical Studies in Architecture forum, to discuss the role of technical studies within architectural teaching, and crucially how we prepare graduates to address the climate and ecological emergency. I presented a reflection on the traditions of UEL – including the ethos of hands-on making throughout the school, socially engaged live projects in the first years of both BSc and MArch, and the ecological understanding that frames our work within social and geographical contexts. Reflection strengthens our identity and role as a school, drawing out what we do to inform how we move forward.
UEL Public Engagement Awards For Individual Contribution to Public Engagement
Alan Chandler (Research Leader, Architecture and the Built Environment) has received an Individual Contribution to Public Engagement Award for his long-term commitment and strategic approach to public engagement. Over a decade, Alan has created and co-created several projects which are now a driving force in the UEL Architecture Department ethos. Construction workshops – building for people to teach how to build for people.
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He has initiated live construction as part of teaching architectural technical studies curriculum in 2000 when he arrived at UEL, establishing the format of 4-8 design and build workshops annually. Workshops are presented on the first day of teaching, students vote for their choices and teams of 5-10 students are convened for the dedicated 2 week construction experience, a further month is allocated to a team report that documents the interactions with team, collaborators and clients, underpinning research and experimentation, risk assessments, project programming and a critical personal reflection to inform future project planning. Each year, second year postgraduate students volunteer as mentors to support tutors and to provide tips to support to the first year’s teamwork. Engagement with non-academic audiences – By 2006 Alan had started to develop links with community groups, since 2009 has delivered ninety collaborative projects bringing in over £110K to elaborate and deliver birdwatching hides and urban gardening for schools, social spaces and facilities for charities and community groups, public consultation events for local authorities (Waltham Forest five projects, Newham three), delivering projects with practice partners engaged in socially beneficial work (Studio Bark and MUF in particular), a stroke rehabilitation area for St Georges NHS Trust, as well as non-community research projects for Thomas Heatherwick, even winning a Silver Gilt at the Chelsea Flower Show in 2009.
Engagement through a range of activities – Over 14 years the programme has enabled our students to engage with a range of people and places, their work also supporting research outputs that were submitted to REF 2014 and REF 2021 in the form of papers, book chapters and books, public installations as well as lectures and workshops in the UK, Canada, Germany, Italy, Belgium and Chile. Our project with Studio Bark to prototype and fabricate self-build components to generate ‘protest architecture’ for the 2019 XR rebellion in Trafalgar Square was reported globally. Alan has worked with Prof. Darryl Newport since 2003 (the recycled aggregate concrete arch on Docklands campus), and continue the SRI collaboration bringing their expertise on green roofs and materials science to our students, as well as our students building innovative prototypes for their PhD researchers. The most satisfying aspect of the award ceremony was to have Architecture nominations in every one of the four categories – sharing the award platform with Carsten Jungfer and Fernanda Palmieri together with our MArch students and Studio Bark for the Extinction Rebellion workshop showed that the belief in socially engaged teaching in architecture is stronger than ever. Being acknowledged in this way shows to us that our University is making a determined, collective shift towards community partnership for social change. I would like to acknowledge the leadership of Amanda Broderick and Verity Brown in valuing the widespread and committed work on social impact that our entire University has always undertaken, but which in the past hasn’t always fully supported. They are now placing this work at the centre of the Universities identity, allowing teaching, research and knowledge exchange to converge on social responsibility and positive social change. Perfect. Alan Chandler Research Leader, Architecture and the Built Environment
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Tropical Isles Mas-Piece Carsten Jungfer and Fernanda Palmieri
Collaboration between UEL students and Carnival youth group Tropical Isles to co-design a Mas-piece for Carnival 2019
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Tropical Isles is a carnival youth group that works all year round with about 120 members aged 13 to 25. The charity’s aim is to support young people in building life skills, confidence and wellbeing. It delivers a range of art-lead and performing arts projects by encouraging young people to meet, work and create collectively. Between January and September 2019, four UEL architecture students and tutors Carsten Jungfer and Fernanda Palmieri, together with Tropical Isles, co-designed, prototyped and manufactured a 5x5 meter Mas-Piece for performances at Notting Hill Carnival, Hackney Carnival and Bielefeld Carnival in Germany. A Mas-piece is a piece of bespoke bodyarchitecture that is worn as the signature costume leading the carnival group at the parade. Collaborative design workshops at Tropical Isles in Hackney and at UEL Docklands Campus were held to experiment with various materials and construct full size prototypes in order to develop a lightweight hybrid structure which would be light enough to be carried by a young women for several hours as well as being as impactful as possible. Students
UEL Public Engagement Awards 2020 Innovation category Other awards: 1st prize and Carnival Band of the Year at Hackney Carnival 2019 3rd place at Notting Hill Carnival 2019, Traditional category Runner-up at ACE School Awards 2020, GLocal Engagement category
had to consider the constraints and potential of different materials and understand how to put them together, the Mas-Piece had to reflect the years’ theme, it had to perform equally well under rainy or windy conditions and it had to be taken apart for transportation. In addition, a special effect was required and delivered as the upper part of the MasPiece had an open system to release numerous helium balloons into the air at judging point in the carnival parade. After performing at Notting Hill Carnival, the second biggest carnival in the world which draws an audience of 1.5m visitors and at Hackney Carnival, the Maspiece was consecutively adapted with integrated lighting for a performance in a festive community event at Hackney Town Hall in December 2019. The Unit A design teaching approach of learning through making aims to engage students with local stakeholders and real contexts so that learning is enriched through live-project experiences at the same time as making meaningful contributions to the local community. Student participants: Daryl Ignacio, Eugene Yu Jin Soh, Halima Ali, Tashan Auguste.
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Welcome to Blockadia: Bring Your Own Block
Client: The Future and You Facilitators: Wilf Meynell, Nick Newman, Steph Chadwick, Tom Bennett (Studio Bark) Description: October Uprising
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We live in a time of great peril and great promise. We face an ecological and climate crisis that many experts believe our civilization cannot survive. And yet there are glimpses of hope. Across the globe we are witnessing an unprecedented uprising of activists and indigenous groups. They are putting their bodies on the line to defend ecosystems and landscapes from the rapacious impulses of ‘extractavism’. It is this transnational network of environmental resistance that author and academic Naomi Klien has dubbed ‘Blockadia’. In the UK, an organisation called Extinction Rebellion has become the single largest actor in this space in less than a year, advocating non-violent protest and mass civil disobedience. Their rebellion in April 2019 brought much of Central London to a standstill, and led the UK (and subsequently the RIBA) to announce a Climate Emergency. This project brought together research and prototyping relevant to Extinction Rebellion with a theoretical live-build project for their October 2019 Rebellion. A common Blockadian tactic is to suspend a protester at a height of 2 metres or above, either on a platform, harness, tree or other structure, and/ or attach in some way lock on. This makes it much harder for them to be moved away, without specialist lifting equipment.
UEL Public Engagement Awards 2020 Student award category
The construction week brief was for students to take Studio Bark’s modular construction system, U-Build, and create an adaption to the system so that it could be used to make hypothetical blockades by novices quickly and safely. The students were asked to test out different box arrangements, and to demonstrate an optimum arrangement that could provide comfort, safety and shelter for the person(s) using that structure. In October, Extinction Rebellion blocked Trafalgar Square. Whilst the protests were outside the scope of the brief, Extinction rebellion decided to put the students’ hypothetical design to the test. Over the course of two weeks, over 600 boxes made around 10 towers from the boxes. One of which reached the height of 5 metres had three protestors locked onto it, requiring the police to bring in heavy machinery to take it apart. Because the boxes were designed to be reusable, at the same demonstrations they were also used to create stages and street furniture. The same disassembled boxes were later taken by train to the COP 25 in Madrid where they were used to create a roadblock once again, during a ‘Disobedience’ dance led protest. In a year of climate demonstrations and growing public awareness around the climate emergency, the term “protest architecture” came into the architectural headlines. The construction week project was featured in Dezeen, the Architects Journal, and the RIBA Journal, and has led to the subsequent creation of the Lockdown Festival of Architecture (May-July 2020), inviting participants to submit their ideas for crafty or spicy protest architecture ideas to an open call.
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Concertina
The Concertina structure in the AVA Architecture Space is based on the art project Concertina by Richard Wentworth and APPARATA. APPARTA were the architects appointed to make the commission and the Concertina was commissioned in 2017.
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“Concertina is comprised of two free-standing and one wall-erected companionways. The staircases, built of plywood, stand suggestively in the space, creating various focal points alluding to an event waiting to happen. Whether it be a series of talks and workshops, a board meeting, or a friendly lunch between friends, the stairs are there to allow for social interactions to occur. As a continuation of Wentworth’s 2013 work on the Black Maria with Gruppe (of which Lobo Brennan was a founding member), the constructed interferences highlight the mundanity of everyday architecture – or that which we take for granted – and asks the viewer to look at our everyday interactions with fresh eyes, to re-examine the world around us. The work reflects Smitham and Lobo Brennan’s ongoing work into what role structure has in cultivating spontaneous and informal occupation. With Concertina, Wentworth lays the foundations on which a heavily prescribed gallery space can become a social sphere, but also highlights the point at which a city becomes a communal environment – a place for
ideas and creation, both physically and figuratively, within and beyond the gallery. The creation of the staircases allows Wentworth to question the potential of such “non-places” in becoming areas of social exchange – the town square, the agora, the church, the pub, the community centre, the school, the rehearsal space, the studio, and the gallery merge together, enabling new conversations between disparate groups.” The Concertina was enabled by Arebyte Gallery and Studios, Diversity Art Forum and BALON “Cities result from comings and goings. We find our place. We seldom know much of the past of a city. We are poor at explaining, even to ourselves, how we come to be there. Cities, like us, are propelled by encounters. With APPARATA, I have devised Concertina as a laboratory, a place where meetings will undoubtedly happen; this is somewhere to be remembered for the quality of its encounters. A happenstance, a tiny darn in the fabric of London.” Richard Wentworth, August 2017
After Concertina was shown at the London City Island gallery in 2017, Richard Wentworth and APPARATA gave two structures to the University of East London, Department of Architecture and Visual Arts. The UEL AVA teacher Pauline Desouza organized the donation. In September 2019, Alan Chandler organised the UEL AVA MArch Construction Week and the Concertina became a 4th year workshop project for the AVA Atrium Space. The UEL AVA teachers Christoph Hadrys and Mark Lemanski organised, guided and planned the workshop. As part of the workshop, the students adapted and redesigned the Concertina for the AVA Atrium Space.
They joined two structures into one larger structure and added a necessary balustrade, by using leftover A-frames and additional plywood. Even though the openness of the art work got lost, the structure still enables a rich social life, specific to its new context in the AVA Atrium Space. Following MArch 4th year students worked on the Concertina project: Jeremy Tay Eujin, Nur Azzahra Mohamad Adzlee, Tendai Simbo, Segunda Joaquim, Raul Mormeneo, Habib Sahel, Si Chu Lum, Chutimon Suetragulwong and Natdanai Wareerinsiri.
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Concertina in the UEL AVA Atrium Space
The Architecture Student competition 2017
Tongji University, China College of Design and Innovation
As part of the proposed twinning between the London Royal Docks and the Shanghai Yangpu Riverside, UEL and Tongji University, situated in the heart of the Yangpu District, signed a Memorandum of Understanding at London Tech Week 2019.
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The first phase of the partnership, with Tongji University’s College of Design and Innovation, is an interdisciplinary Sustainable Futures project in which students from both universities will work together to design a multi-purpose, sustainable retail outlet. This project will be the beginning of wider collaboration between the two universities, which will provide opportunities for both universities to extend their international network and develop their commercial contacts. Mission of the college: Design - to cope with global challenges and elevate the quality of life. Innovation - to promote social reforms and realize sustainable development. The mission of the College of Design and Innovation, Tongji University is to meet the urgent need of worldclass sustainable designing and innovating talents for technological, social, economic and environmental changes and for sustainable development. In particular, to meet the demand for high-level designing and innovating talents when China is turning from “Made in China” to “Created in China”, while Shanghai is promoting “transformational development driven by innovation”; to contribute to the creation of the second Centurial Glory of Tongji University in disciplinary development; to cultivate high-level designing and innovating talents in accordance with the pursuit of people-oriented, innovation-driven and sustainable development; to contribute to the prospect of developing Tongji University into a sustainability-oriented world-class university. The Vision of the college: College of Design and Innovation, Tongji University draws on the latest ideas and models of world design and innovation disciplines and gathers outstanding talents of design practice, design research, design management and design education management from all over the world in order to cultivate
innovative and inclusive value orientation, up-andcoming collaborative innovation style, capability of contributing to the society and transparent and aspirant college culture. The aim and feature of the College of Design and Innovation are to pursue academic excellence and contribute to social development. The overall goal is to establish an international, innovative, forwardlooking and research-oriented world-class college of design with great sense of mission of the era, international perspective and native characteristics. Designing anti-epidemic | Food flow system design in community isolation scenarios School of Design & Innovation, Tongji University 7/8 This year, our college’s online exhibition of graduation design for undergraduates is still in progress, and there are some excellent designs related to the fight against the epidemic. This issue will push the graduation design works from Cai Yanni. The closure of the community during the epidemic caused the delivery problem of the last 100 meters in the community. Cai Yanni’s design project uses the wall border area under the construction of a closed community as a space carrier to create a food flow system that “passes nothing but people” during the epidemic. Starting from solving the distribution problem under the isolation of the epidemic community, it will activate community life in the daily period and provide the possibility for the future development of unmanned logistics.
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Above & right: Daily operations
Future unmanned logistics
City, Land, Process II Unit H - 2019/2020
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Our research as a unit this year builds on the experiences of last year in the same region exploring the relationship between the land, its people and the city through spaces of production, and material cultures specific to Alentejo, a region in southern Portugal. Through starting in Porto and moving further south to Montemor-o-Novo and Evora, then briefly onto Lisbon, we were able to take in the culture, food, landscapes and materiality of the place. Our trip to Portugal began in Porto where we were given the opportunity to visit the studios and workshop of architects Skrei. With a workshop for production below their studio, the practice has an integrative approach where design, construction and applied material research ‘combine into an experimental practice where overarching notions of the human body and ecology are weighted against the specifics of local culture and resources’1. Their studio in the centre of Porto is alive with materials – both collected from the landscape and fragments formed from experiments within their projects. Earth, hempcrete, clay, resin, beeswax, cork – these are just a few of the materials that form their ongoing archive, the knowledge of each being collected and built upon from project to project. Montemor-o-Novo was the next stop and formed the sites for the year. Located in the region of Alentejo in southern Portugal and sited on the trading route between the cities of Lisbon and Evora, the town was gradually formed around a hilltop castle from the 13th Century onwards. Things are gradually shifting but the people in the region have a special connection to the landscape, which is dotted with olive trees, cork trees, pigs and sheep – extending to the edges of the towns where urban gardens and cobbled streets are etched onto the undulating landscapes. Whilst many places in the region have seen shrinking populations in the past decades, the cultural productivity of the town has been slowly thriving in recent years in part because of a cultural organisation, Oficinas do Covento, who formed twenty years ago. They saw the potential to take over a disused convent near the centre of the town, turning it into workshops for screen printing, carpentry and music. Eventually young artists and makers have been returning to the town thanks to opportunities afforded by abandoned
buildings, low-cost living and access to space and resources. Over the course of twenty years they have gradually expanded onto other sites in the town, setting up a dedicated clay and ceramics workshop, alongside an earth lab where they test rammed earth and liquid earth as construction materials. There is a porosity to the way that they operate and their generosity was evident in the way that we were hosted for three days both by Oficinas do Covento but also a local architect, Tânia Teixeira, who grew up in the region and returned a few years ago to set up a practice. Together, they offered their time and expertise, teaching us about the many ways to build with earth and eventually showing us to how to make adobe bricks and pour liquid earth, which formed part of their own research into earth construction.
“Receiving the visit of this group of students from London was a positive challenge to our team. We also felt the theoretical and practical classes gave a catalyst to the students’ learning process. The theoretical classes were on earth behaviour, given also by our partner from Miga - Oficina Rural de Arquitectura y Construcción.
It was refreshing to see the analyses of the context and the diversity of proposals for the different sites in Montemoro-Novo, that the students managed to achieve. We are honored for their effort and it was a pleasure to participate in the critics events, the exceptional moment we lived during this year, allowed us to cross borders in an unexpected way. We hope to have the opportunity to have you back again!”
For practical knowledge, we took advantage of having a group of motivated students to implement a bigger prototype of our poured earth research. This meant they could be involved in a live work in progress, understanding first hand the materials successes and failures. It was difficult to control the minor errors of a big group. The other half of the group was working with Mafalda do Rosário, our brick master and Pedro Sequeira as a helper. They focused on molding bricks and pavement tiles in the brickworks.
Tânia Teixeira
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Tânia Teixeira is a director of CRU Arquitectura e Investigação and Cooperativa Integral Minga, Montemoro-Novo
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Centre for Alternative Technologies (CAT) Study Trip BSc Architecture Unit C Study Trip
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The current global sustainability agenda raises the significance of low carbon design supported by momentous bottom up initiatives such as Extinction Rebellion, Global Climate Strikes, etc. Hence, creating low carbon buildings helps reduce harmful greenhouse gas emissions through more efficient use of resources besides enhancing people’s health and wellbeing. Unit C ethos involves seeking to achieve thoroughly considered architectural propositions that aspire to achieve low to zero carbon design. The key objective from the study trip workshops and sessions at CAT was to start students thinking about climate responsive design, sustainable design techniques, and environmentally-friendly materials that will inform their design projects. The trip itinerary included a CAT site introduction and tour which covered the history of the site and of CAT and introduces the key sustainability themes used on site from renewable energy through to a wide variety of examples of environmentally responsible buildings. Students were encouraged to think of the different material properties required for building. They were then introduced to low carbon footprint alternatives to more commonly used materials and the concepts of embodied energy and legacy.
Students were also introduced to various low embodied energy materials and saw examples on site – the Sheppard Theatre visited by the students visit on site has the highest rammed earth walls in Britain, made using 320 tonnes of graded earth! The learning experience also included a session on Zero Carbon Britain, where students were introduced to the major issues – climate change, fossil fuels, energy security, global equity. They were also reminded of the current UK governments target to reduce C02 emissions by 80% by 2050 and consider ‘what will Britain be like without carbon emissions?’. This was complemented with straw bale building and earth building practical workshops and getting hands dirty! The students were challenged to work together to build something creative with the material and test the material to its limits to see what can be done with it. The students also learned some of the techniques used for straw building and how to build a solid wall. In the earth building workshop the students looked at rammed earth, cob, clay plasters and adobe blocks and experiment with some of these within the time constraints.
Thessaloniki Collaboration with AKMI - Architecture BSc Architecture Unit E Study Trip
Thessaloniki Metropolitan College welcomed a group of architecture students and academics of University of East London – our UK educational partner for delivering in Greece BA (Hons) Architecture (RIBA Part1) programme of study. Accompanied by their UEL professors, Michele Roelofsma and Alex ScottWhitby, second and third year students attended interesting lectures and fascinating workshops, during their 5 day-long stay.
During their educational visit, UEL students had the opportunity to collaborate with Metropolitan College architecture students, and, also, to have fruitful meetings sharing ideas and opinions. Additionally, students enjoyed guided tours in the city centre. They visited worth seeing monuments, as well as, the districts and blocs that will be their source of inspiration for, this year’s, architecture designs. UEL and Metropolitan College Architecture and Engineering professors had insightful conversations with the students of both educational institutes.
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Intrigued by the eco-friendly policy and goals that Thessaloniki’s mayor, Mr Konstantinos Zervas, has set, Mr Roelofsma and Mr Scott-Whitby suggested the city as the main theme and object of research for the design unit they teach.
Collaboration and Outreach in Malaysia
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In December 2019, Dr. Heba Elsharkawy, Cluster Leader for Architecture and Design and Course Leader for BSc (Hons) Architecture was invited to visit Malaysia for collaboration and outreach. The aim of the visit was to meet with Heads of Departments of Architecture to discuss potential collaborative initiatives, and deliver lectures to students studying Architecture at University Sains Islam, and Infrastructure University in Kuala Lampur, Malaysia. The lectures focused on sustainable design in the UK by drawing on case studies from recent research projects led by the Department of Architecture, UEL. The talks also touched on studying architecture in the UK and UEL’s ethos of engaging Architecture students (in both BSc and MArch courses) in various live projects to facilitate real life experiences with
design projects hence embedding the learning by doing approach. Dr. Elsharkawy also facilitated workshops for students to understand how a portfolio should be structured and created for a postgraduate degree in Architecture. The trip was organised by Mr. Mark Whitfield, UEL International Officer where several other visits to education exhibitions and International Schools were also undertaken as part of UEL’s vision and strategy for international outreach. The visit has been very successful; the lectures and workshops were attended by around 120 students and possible formulation of Memorandums of Intent (MOI) with both Malaysian Universities for various collaborative initiatives were discussed - including international design studios, and potential research projects between UEL and Malaysian universities.
UEL Student’s Landscape Institute Travel Award Exploring Landscapes of Healing in Seattle, Washington.
long residency and access to their research data Her thesis , submitted in January 2020, and featured in our yearbook and in the VirtUEL show, considers the potential for design of salutogenic spaces within the public realm, spaces that can support people dealing with stress, loss, grief; things that happen every day to everyone, in a commonplace way. Her research starting point, was that when we face an aging population, in the same way that new developments have to provide so many m2 of play for children, should we also be providing spaces for reflection and contemplation - for grief?
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In summer 2019 MA Professional Landscape Architecture student Lisa Peachey won the highly competitive Landscape Institute Student Travel Award, with her proposal to travel to the Bloedel Reserve near Seattle, hoping to research whether landscape can support our mental health in times of grief . Bloedel is currently engaging with the role of nature for psychological healing through a programme called ‘the Strolls’, which actively correlates psychological health with access to their reserve, and includes questionnaires taken by participants. The reserve provided Lisa with a month
2020 Broadgate Prize
Architecture students at the University of East London got the chance to compete to take part in paid work on the Broadgate Framework. The Broadgate competition, now in its fourth year, gives students the opportunity to work collaboratively with fellow students and alumni, creating a bridge and stair.
The competition is the result of a ten-year relationship between University of East London, British Land Plc, and Sir Robert McAlpine to give positive transformatory experiences to students and recent alumni. The opportunity is offered in partnership with Allford Hall Monaghan Morris architects, ScotttWhitbyStudio, British Land, and Sir Robert McAlpine. In the past this has enabled students to gain significant ‘live’ work experience on one of the most significant regeneration projects in Europe.
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The brief focused on the conceptual design of a bridge between two existing buildings on the British Land and GIC owned Broadgate Estate in the City of London. The construction of the bridge needed to be thought about carefully as it needed to be lifted into place by a tower crane and lifted out again as and when needed. There were 175 students across three programmes who took part, 43 design submissions, six shortlisted but only one team could win.
The winning team comprised four students - Guy Mukulayenge, Adit Jaganathan, Jeremy Tay Eujin and Sumaya Sheikh-Ali.
The winning team of Jeremy Tay, Sumaya Sheikh-Ali, Guy Mukulayenge & Adit Jaganathan and their design ‘Rhombus Bridge
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6 SHORT-LISTED TEAMS
The shortlisted entries and all shortlisted teams
Light Me Lusail Qatar II Edition 2020 Video Art Prize at the Digital Art and Interactive Media Festival, Qatar
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The MA Interior Design has been represented by Aysha Farhana, Senuri Peththawadu, Himani Ravuri, Beth Hooper, and Tatiana Garcia, in the II Edition of the Light Me Lusail - Digital Art and Interactive Media Festival in Qatar, who have been awarded a prize with a video art project. Our UEL students have developed a critical visual and sound narrative, exploring the current emergency of climate-change and extinction. Their video was showcased together with 10 renowned international digital media artists. The narrative follows the LML second edition theme surrounding the concept of respect “Respect”. • What are the different faces of Respect? (generational, cultural, social, ideological); • What are its boundaries? Should it always be present? • What are the challenges of Respect as we continue to drive towards globalization in every aspect of our lives? • What are devastating consequences in absence of Respect? • Respect for our future: our planet, our children, our animals; • Respect as tolerance. This 2020 edition of the festival brings to Qatar innovative technologies and mediums in realm of Light Art and Digital Media. LightMe Lusail is solidifying Qatar’s position as a Tourism & Cultural Hub, delivering creative and innovative entertainment solution, promoting diversity and unity among local communities, and delivering a clear message of #Respect to the international community through the universal language of Art.
Student Drawing Prize 2020 Worshipful Company of Chartered Architects
The drawing explores primordial relationships between the rural landscape with medieval ruins of Montemor-o-Novo in Portugal and new architectural interventions through use of pre-existing textures and forms as language of the place.
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George Moldovan from BSc Architecture Degree Unit H (tutors Keita Tajima & Rhianon Morgan-Hatch) was successfully awarded runner up for the Student Drawing Prize 2020 (RIBA/ARB Part 1) organised by the Worshipful Company of Charted Architects.
AVA Open Studio Mid Year Exhibition 2019-20
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We had the AVA Open Studio – Mid Year Exhibition in the AVA Building, at the end of January. Our Department of Architecture and Visual Arts showed art, design, photography and architecture. The event was again a unique opportunity to see work in progress and share the diversity of programmes. We welcomed all students, members of staff and people who were interested in our spatial, artistic and creative studies.
The event was organised in such a way that each programme presented their ongoing work in their own studio space. As such, it was both, an exhibition with work in progress and a vital platform for discussion about academic work across the AVA.
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The November Lectures A series of public lectures by top contemporary architecture academics
Top international professors from Harvard and the Massachusetts Institute of Technology (MIT) were among key speakers at the University of East London for a series of six public lectures on contemporary architecture, starting this autumn.
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Curated by Carlo Cappai and Maria Alessandra Segantini, the fourth annual November Lecture Series at the University’s School of Architecture, explored the relationship between research and practice in architecture as a tool to tackle the environmental, social and economic urgencies of our contemporary times. Invited lecturers from USA, Italy, Egypt and the UK presented how the connection of their work bridges between practice and academia. The free public lectures, organised by the University in cooperation with the Sto-Foundation, a German Education Foundation, run throughout November and December. Guests have included Harvard and MIT professors Sheila Kennedy and Frano Violich, who spoke at the end of October. Andreas Kipar, focused on Landscape, Architecture, Nature, Development (LAND) on the theme ‘Open Spaces Create Urban Spaces’. The series concluded on 10 December with speaker Hanaa Dahy from the University of Stuttgart showcasing her current industrial projects. Other themes include a
look at ‘natural structure,’ and geometry, pattern, texture and spatial complexity in architecture. New York based architect Bryan Young spoke focused on geometry at all scales of design and construction. Michael Ramage, the Director of the Natural Material Innovation Lab at Cambridge University, was presenting his research impact through his academic achievements and his practice. The eminent line-up of speakers also included Jon Lott, principal of PARA, cofounding member of CLOK, and Assistant Professor of Architecture at Harvard University’s Graduate School of Design, where he is Director of the Master in Architecture Programme. He has received a string of awards, including the Emerging Voices Award by the Architectural League of New York, the Design Vanguard award by the Architectural Record and the New Practices New York award by the American Institute of Architects, New York. The Sto-Foundation focused on the future through education and supports young people in their craft and academic education. The successful “November Series”, of lectures, open to the public, has been sponsored by the foundation since its launch in 2006. After the series at the University of East London, the lectures go on to five more venues: Stuttgart, Graz, Venice, Paris and Prague.
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Mentoring
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UEL Mentoring Scheme for ARB/RIBA Part 1 Year 2 Organised by Stephanie Schultze-Westrum, UEL Architecture Department and Rachel Oliver-Herbert, UEL CfSS. Thank you to all the motivated and inspiring mentors! Grimshaw - Angela Dapper - Miguel Vidal Muyiwa Oki - Marwa Altai - Natalie Azodo. HASA Architects - Charlotte Harris, Hawkins\Brown - Michelle Tomlinson, Haworth Tompkins - Jerry van Veldhuizen, HKS Architects Ltd - Alfonso Padro, Maccreanor Lavington - Olympia Katsarou - Emma Rutherford - George Mathers, Maich Swift Architects - Charlotte Hurley, Penoyre & Prasad - James Goldberg, PH+ - Andy Puncher, SOM Ben Ward, Peter Smith Architects - Peter Smith Stephen Davy, Stockwool - Anna Apostolova, tp bennett - Nia Rodgers, 6a Architects - Mayuko Kanasugi RIBA Mentoring Scheme for ARB/RIBA Part 1 Year 3 Organised by Jenni Killick, RIBA, with Stephanie Schultze-Westrum, Architecture Department UEL. Thank you to all the motivated and inspiring mentors! 5th Studio - Anastasia Orphanidou, Architecture00 - Alice Fung, Bell Phillips Architects - Leithan Brimah, Bennetts Associates - Ben Hopkins, Bowman Riley - Roy Wilson, Coffey Architects - Thomas Leung, ECD Architects - Alice Hiley, Hassell - Evelyn Choy - Charlotte Birch, Holland Harvey - Chloe Anderson - Nick Shackleton, John Robertson Architects - Kwamena Beecham, Morey Smith Ltd - Rholdah Cameron Hayes, NBBJ - Jonathan Hasson, Resilient Edge Architecture Ltd - Jon Pyle, Russian for Fish - Pereen d’Avoine, Smith CH Architects - Georgette McKinlay, Studio Egret West - Heidi Au Yeung, Witherford Watson Mann Architects - Pat West. We very much hope that the mentors can join us again in the new academic year 2020/21. We are always looking for more mentors - reflecting our very diverse student intake - to support our students during the first crucial years of their education and to help them start a network: s.a.schultze-westrum@uel.ac.uk
Mock Interviews for the ARB/RIBA Part 1 year 3 students Organised by Professional Studies Programme Leader Hwei Fan Liang. Thank you to all the patient and supportive Interviewers! Daria Wong Architects - Daria Wong, Tate Hindle - Jemma Miller, Matter Architecture - Roland Karthaus, Stanton Williams - Kalpesh Intwala, muf architecture/art - Mark Lemanski, Weston Williamson - Louise Scannell, What If? - Gareth Morris, AEDAS (now at Buckley Gray Yeoman) Marija Ambrasaite, RCKa (now at Hawkins\Brown) - Emma Graham.
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Employability
The architectural profession and most teaching environments are generally still not inclusive and there is a lack of visible everyday role models from all backgrounds and circumstances.
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Throughout the year we invited professionals chosen not only for their outstanding achievements, but also to reflect the diversity represented by our students - to talk about their education, careers and the ups and downs of professional life. The brief presentations were followed by discussions with the students. The diversity also extended into the occupations and showcased the multitude of paths possible post graduation. Many of the guests are involved in initiatives to advance the urgently needed diversity in the profession and are mentoring or otherwise supporting students/young professionals from underrepresented backgrounds. They use their example and their voice to advocate long overdue change. Thank you to all engaged and inspiring guests! Jayden Ali - UEL Alumni, Director JA Projects, MArch Unit Leader Central St Martins, trustee Theatrum Mundi Nimi Attanayake - Director, Nimtim Architects, Design South East Panel Marija Ambrasaite - Architect, Buckley Gray Yeoman, when invited at AEDAS, UEL mentor
Liz Waters - Stakeholder management/Comms/ Community Engagement, Sir Robert McAlpine Jeff Tidmarsh - Broadgate Framework Design Manager, Sir Robert McAlpine Steve Deadman - BIM, Mechanical engineer, Pollard Thomas Edwards Yemi Aladerun - Shoreditch Housing Association, OLMEC Board Trustee, RIBA National Council Member/Trustee Ibrahim Buhari - UEL Alumni, Public Practice Assoc at RB of Kensington and Chelsea, RIBA Architects for Change Katy Marks, Director - Citizen Design Bureau Bola Lasisi-Agiri - Apprentice, Architectural Assistant at Foster+Partners, director Tamed, Migrant’s Bureau Rhianon Hatch - Public Works and BSc Unit H, UEL Alfonso Padro - UEL Alumni, principal HKS, Mentor/ Ambassador Stephen Lawrence Trust, UEL mentor Carl Nevil and Del Hossain – Adrem Recruitment We would also like to thank Jenni Killick, RIBA and Sarah Holt and Grant Dyble, ARB and RIBA ELAG Group.
Neba Sere - Penoyre + Prasad, Youth Construction Leader, Build Up, Co-Founder of Black Females in Architecture
A big thanks to our industry award sponsors:
Nick Evans - Architect, Vabel, Property Development
Eco Friendly Tiles and Eco Friendly Facades - Skin Thinking Award.
Wilf Meynell, UEL Alumni, Director Studio Bark, MArch Unit Leader UEL Nia Rodgers - Architectural Assistant, tp bennett, UEL mentor Nilesh Shah - Director, Russian for Fish Karina Williams - Sustainability Manager, British Land
Milliken Flooring - Radical Sustainability Award
The above events were organised by Stephanie Schultze-Westrum and Hwei Fan Liang We would love to add further contributors/ collaborators/sponsors to this list. Please contact: s.a.schultze-westrum@uel.ac.uk
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HISTORY AND THEORY
Constructing the Box Man’s Box, The Box Man, Kobo Abe
An Introduction Renée Tobe, History and Theory Coordinator
Year 1 examines and questions architecture in different regions of human habitation acknowledging our architectural origins but focusing on contemporary architecture, through assembly, form, geometry, and symbol. Whilst beginning to develop a sound knowledge in their field, students are encouraged to see, read and articulate connections between global developments in architecture and contemporary practice. Design requires a spatial ability to move with equal ease between imagining a space, designing, it drawing it in plan and creating it in model form. Year 2 engages with the city, urban conflicts, boundaries, and public engagement. Year 3 allows students to choose a focus within a wide range of topics, from loneliness in the city, rewilding, or public policy for development.
Year 3 Title: The Doorway is Not Just an Opening to a Space but as an Opening to our Senses Name: Tashan Auguste In this essay I will discuss doors and the doorway as a portal of experience. By placing emphasis on the power of the threshold and at how doors and doorways can offer a point of either refuge or escape, as well as how simply passing through a doorway can give a different perspective on how we see the world and how our senses identify with it. I will also be exploring the famous idea of the ‘in-between’ and how the doorway, a simple opening, can alter our state of being as we experience/ contemplate going through a doorway. I will also be investigating the role the doorway plays at organising spaces. With the use of images, photographs and diagrams as examples, I will explore and examine how doorways; ‘portals’ create points of contact between different ‘worlds’; spaces. I will also be examining how they have been used as forms of control and sometimes means for discrimination as doorways can create undying urges of temptation or curiosity of transgression. I will also discuss forbidden doorways, their uses and the relationship between doorways and the organisation of routes and the impact they can create and have for the users of the building. Title: Conservation Architecture is Important for Antigua and Barbuda Name: Hannah Cornelius In the area of Architectural Conservation, the preservation of heritage buildings is an important factor of any community, country or city. In the book, Conservation, both editors concluded that professionals in this area “do things to irreplaceable work of art and design, archaeological artifacts, buildings, monuments, ruins, and heritage sites on behalf of society,” (Richmond and Bracker, 2009). However, in many countries, these “irreplaceable” work such as Heritage buildings are torn down and traded in for modern aesthetics. In Antigua and
Sketch, Cities and Eyes 4, Invisible Cities, Italo Calvino
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History and Theory encourages undergraduate architecture students to ask difficult questions, and to develop their own framework to understand the cultural context of architecture, urbanism and design. We present information through a series of lectures, seminars, site visits, presentations, and walks through the city, and encourage students to express themselves, to explore ideas, concepts, or conventions.
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Barbuda, there are a few laws and governing bodies that protect heritage sites however, protection of these sites does not mean preservation. Many heritage buildings on the island have been abandoned and “are subject to a process of degradation” (Essays, 2018). The buildings are no longer in use, but no one maintains these buildings, and not only have they lost their purpose, but the lack of proper upkeep has diminished their value as well. As an island whose main industries include tourism and construction, preserving the heritage sites are of utmost significance. In this essay, I will be discussing issues surrounding the importance of conserving heritage buildings in Antigua and Barbuda. I will attempt to illustrate the benefits this practice has on this country, specifically examining the historic, cultural, economic and environmental advantages that come with this concept. To fully understand and clearly show the full impact architectural conservation has, I will research the conservation work undertaken by the Antiguan Government in conjunction with British Authority, on the Nelson’s Dockyard project, highlighting how the purposeful preservation of history not only benefits the people who live in the area but, impacts their entire livelihood and contrast it against another popular historic site, the Antigua Recreation Grounds (ARG), also displaying its contribution to the people living and working around this space.
Title: Building Values Name: Hannah Tweg This essay oberves and records how different architects view their role within society today, in relation to the Heygate Estate and its regeneration. A. Yaneva’s approach in the structure of her book ‘Five ways to make architecture political’, introduces five subsections within the topic of political architecture, recording and observing examples where architects have encouraged political values to grow through their design. For this essay, the question on how architects view their role in society today will be divided into three subsection - each a factor that would contribute to the formation of an architects values. Whilst these may not be the complete answer, it is an attempt to look closer in detail at how architects make choices in terms of their designs. These three values are: Political – how an architect may choose to deliver or stand up for certain political values could impact their work within the profession, and thus affect users within the designed space. Time and Sensitivity - time is an important factor to how we approach building. In a fast track world, we may be rushed to make decisions due to the way we have monetized time frames. This can often lead to a lack of sensitivity or understanding. In this section I will look in particular into Kon Wajiro’s approach to the shifting of time. Integrating Communities - one way to fight back is through the use of community integration, where architects reach out to users within the sites’ community, providing safe spaces for ideas and skills to be shared and potentially implemented in the procurement, design and construction stages of building. It has been commended that through community engagement in a project, the design and lifetime of the building is of a much higher quality. Alastair Parvin in particular researched into redistributing power and knowledge into the user’s hands.
Sketch, Library of Babel, Labyrinths, J. L Borges
P67 PEDAGOGY ADT study trip to the UAE
Foundation
Architecture + Design Keita Tajima, Programme Leader
P69 Foundation
The course aims to provide a broad range of experiences in the culture of spatial design. “Thinking through making” is at the core of this course, which is a tradition of architecture and design at UEL. We aspire to make the foundation studio into a creative laboratory where students will explore, discuss and cultivate individual creativity and critical thinking through studentship. Our aim is to stimulate students to find joy and enthusiasm in making and designing through the framework supported by experienced and enthusiastic tutors. Keita Tajima
Foundation Keita Tajima (Programme Leader) Tutors: Emma Tubbs, Catherine Phillips ,Catalina Pollak, Fernanda Palmieri, Irina Georgescu, Phillippa Longson, Maria Venegas, Christopher Storie, Paul Tecklenberg, Imogen Ward
Foundation in Architecture and Design is a gateway to the culture of design. The course aims to provide a broad range of experiences in the culture of spatial design. “Thinking through making� is at the core of this course, which is a tradition of the architecture school at UEL. We aspire to make the foundation studio into a creative laboratory where students will explore, discuss and cultivate individual creativity and critical thinking through studentship. Our aim is to stimulate students to find joy and enthusiasm in making and designing through the framework supported by experienced and enthusiastic tutors. Each module in the foundation program is set to provide briefs to enable students to discover their talents, and develop them further to be ready for their challenge as a first year student in a specific field of design. 2019-20 We started the year by building up a series of skills and experiences through drawing and making from a scale of a pencil to a body, and exploring the relationship between a body and space at the end of first semester. The workshop with a choreographer stimulated the fresh discovery of the movement of a body, and provided students with further insight into the spatial relationship between a body, movement and space. The workshop allowed students to document and experiment in full-scale drawings and paintings. Students have further investigated these issues through a series of spatial investigations in fullscale physical models.
Bilbao, San Sebastian & Pamplona, Spain
Design Project The final design project was set in UEL dockland campus. Students have observed something they have not seen nor experienced from this very familiar place, and explored a series of spatial narratives and possible scenarios. As a conclusion, they were asked to design an intervention as a response to current condition and their personal observations in the UEL campus that will make contributions to the university campus as a public place. The proposed intervention can be either temporary or permanent. On the course of the design process, students developed and tested through collages, series of different scale models and drawings. Field trip The trip to Bilbao, San Sebastian and Pamplona gave students the oportunity to experience some iconic examples of contemporary architecture and art. In Bilbao we visited the Guggenheim Museum by Frank Gehry, and in San Sebastian the Kuursal Arts Centre by Rafael Moneo, and the recently completed Museum extension by Nieto Sobejano. We visited the Peine del Viento site specific sculpture by Eduardo Chillida, and the Chillida Leku Foundation near San Sebastian. In Pamplona we spent a day at the Oteiza Museum in by Francisco Saenz de Oiza. These sites where chosen to enable students to experience the interconnectedness between art and architecture, so vivid in the Basque country.
Special thanks to: Ivana Sehic, Marisa Seanz de Oiza, Mark Sowden, Glen Marston, Gaynor Zealy, Paul Nichols, Craig Madden, Daryl Brown, David Morgan P71  Foundation
Students Afshan Anjum Parvez Shaik, Elonas Butrimas, Farah Tarhini, Holly Franks, Jeremiah Olabode, Mahmudul Hoque, Samuel Littlewood, Umar Hajat, Fernando Da Silva Tagliati, Roza Witek, Attila Borca, Elena Reona Arotaritei, Anoeda Chikungwa, Eleanor Johnson, Yusuf Khan, Adriana Bostan, Khaled Abualaish, Liam Betts, Horacio Sequeira de Araujo, Maria Salazar, Reece John Baptiste, Fortune Hove, Kiranjit Kaur, Mariana Marian, Joy Raji, Taniya Zaman, Paula Pryce, Darnell Carol-Walters, Jordan Perry, Charley White, Milesa Khan, Naafiah Miah, Sami Begum, Federia Guarini, Ibrahim Muahid, Tahsin Mahita, Hamid Ebdali, Natalia Higuera Garzon, Emiliana Lamce, Joanna Wong, Dichhaya Kaucha, Florin Matei-Sascau, Nicoleta MateiSascau, Valeriu Florin Popa
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P72 Foundation
Previous page 1 Workshop lead by Ivana Sehic, exploring the space between bodies and movement 2 At Foundation studio 3 Exploded axonometric of remote controller by Sami Begum 4 Exploring cassette tape by Federica Guarini, 5 Pumpkin fragments and section by Florin Matei Sascau 6 1:1 detail drawing of ground surface by Jeremiah Olabode 7 79.04m, drawing of cassette tape by Federica Guarini 8 Drawing of in-between object by Darnell Caroll-Walters 9 Group model - materializing the in-between space 10-11 Group model - materializing the in-between space 12 Group work - finidng the space between
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P73  Foundation
P74 Foundation
13 Students at Chillida Leku Foundation 14 Fernando Da Silva Tagliati, collograph print 15 Anoeda Chikungwa, relief collage 16 Federica Guarini, Photoshop collage of cube 17 Darnell Caroll-Walters, inverted cube 18 Anoeda Chikungwa, spatial collage 19 Farah Tarhini, card cube 20 Anoeda Chikungwa, spatial collage 21 Ibrahim Muahid, pinhole photography 22 Darnell Caroll-Walters, cube spatial drawing 23Florin Matei Sascau, photo-lithography print from material study 24 Sami Begum, 3D paper collage 25 Ibrahim Muahid, photograms
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P75  Foundation
P76 Foundation
26 Site collage of various moments by Horacio Sequeira De Araujo, 27 The device for exploring new boundaries by Sami Begun 28 The device for exploring new boundaries Axonometric by Sami Begun 29 Study model for one of the fragments of spatial intervention to the Cyprus station by Jordan Perry 30 Extending the threshold, perspective drawing by Federica Guarini 31 Axonometric collage of Swinging roof structure, Darnell Caroll-Walters 32 Articulating a set of fragments and spaces axonometric collage by Jordan Perry 33 Iterative models by Jordan Perry 34 Collage exploring new spatial geometries by Jordan Perry
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P77  Foundation
ARCHITECTURE ARB/RIBA Part 1 and 2
BSc (Hons) Architecture (ARB/RIBA Part 1) Programme Leader: Dr. Heba Elsharkawy MArch Architecture (ARB/RIBA Part 2) Programme Leader: Isaie Bloch
History & Theory teaching staff: Sabina Andron Christoph Hadrys Aurore Julien Anna Minton Miho Nakagawa Debra Shaw Bridget Snaith Renée Tobe Vanessa Vanden Berghe Technical & Environmental Studies teaching staff: Alan Chandler Marek Glowinski Christian Groothuizen Arman Hashemi Aurore Julien Hwei Fan Liang Michele Roelofsma Jeff Tidmarsh Guest critics: Francis Gallagher, HKS Paul Hyett, HKS Alfonso Padro, HKS Computing & Representation teaching staff: Janet Insull Isaie Bloch Jennifer O’Riordan Paul Nichols
Nasios Varnavas Alessandro Antinucci (MArch student) Sabrina Binti Azman (MArch student) Professional Studies teaching staff: Roland Karthaus Hwei Fan Liang Stephanie Schultze-Westrum Jeff Tidmarsh Guests and thanks: James Banks (CIAT) Hanaa Dahy (BioMat ITKE Uni Stuttgart) Grant Dyble and Sarah Holt (ARB) Sheila Kennedy & Frano Violich (KVA MATX) Andreas Kipar (LAND) Jon Lott (PARA – Projects) Michael Ramage (Light Earth Designs) Craig Robertson (Allford Hall Monaghan Morris) Jennifer Killick (RIBA) Bryan Young (Young Projects) External Examiners: Teoman Ayas Carolina Bartram Catherine Du Toit Cathy Hawley Kate Goodwin Philip Turner Sebastian Wood
The professionally accredited Part 1 and Part 2 programmes at UEL produce directed, responsible and socially aware graduates that understand architecture as a beautiful, radical tool to make ‘place’ and engage with the complexities of social and environmental interaction. Through the programmes, our students develop a rigorous and strategic understanding of context encompassing social and environmental, physical and non-physical concerns, enabling them to make engaged and critical architectural proposals. Our teaching is centred on the interface of social and spatial structures, on people and place. Our location in East London gives unique opportunities to understand, critique and reimagine how regeneration and redevelopment impact upon existing places and communities, bringing case studies from across Europe and beyond back into a critical reflection on London and its future. At the core of this education are our design units in Years 2 & 3 and 4 & 5, each of which provides students with a particular thematic and methodological approach to design, and as a whole contain a diversity that stimulates critical awareness. In Year 1 the teaching is centred on a sequence of design projects that work through from the scale of the body to the scale of the city. The year aims to provide a broad platform for exploring creativity and introduces a set of skills and standards that range from surveying and technical drawing, to sketching and model making. Embedded within the schedule of projects are lectures, seminars and practical workshops that provide an introduction to the social concerns of architecture, knowledge of historical context, and understanding material properties and capabilities. The year is structured to guide every student along these first steps on the path to becoming an architect, building confidence and developing a strong sense of purpose and direction.
In Years 2 & 3 the design units lead an iterative design process that is driven by creativity, imagination and critical self-reflection. The course is designed to educate students to think seriously about the world around them, to consider occupiers and users, buildings and spaces with an approach that is both critical and poetic. The supporting strands of History and Theory, Technical and Professional Studies, Computing and Representation, inform and enrich an integrated design approach. Students test and apply learned knowledge, practical skills and critical enquiry to a personal architectural proposition; this forms the basis of the architectural education. The technical teaching instils an appreciation of site and context, the art of construction, economy of structure and the nature and complexity of materials, using knowledge-based lectures and analysis of precedent as a route to integrate this understanding in the unitbased design proposals. Our hands-on approach to a poetic materiality is characterised by exploratory modelmaking in all years and 1:1 construction particularly in Years 1 and 4. The aim of the MArch programme, in Years 4 & 5, is to stimulate students to become critical agents in the social production of space. Enriched by practical experience after their degree, postgraduate students expand their technical, professional and theoretical knowledge. Their competence creatively converges in a design-process that challenges the boundaries of architecture in its social, economic and political context. Within this process students transform complexity into elegance, animate aesthetics and organise space for social use. Preparation for professional practice integrates essential technical, philosophical, regulatory and practical knowledge as baseline skills that enable the final thesis at BSc and MArch to critically extend beyond the RIBA requirements. Decision making and technical innovation develop from and relate to wider sociopolitical contexts, grounding the design work and the critical task of detailing to make tangible connections to wider architectural ideas.
P79  BSc / MArch Architecture
This year 19/20 has been an exceptionally challenging year, with the COVID-19 pandemic and lockdown of all UK universities earlier in March. All tutors and students swiftly transitioned to online teaching and learning, which was daunting at the beginning. However, by embracing all the possibilities and opportunities made available via virtual learning, students were able to produce exceptional design proposals. We have been delighted to witness the evolution and production of thoroughly developed projects in which students have been able to apply innovative, analytical and experimental design strategies. Our students have been able to demonstrate exceptional understanding of numerous modern and traditional approaches towards design concepts and processes; applying logic, imagination, and innovation.
First Year
A Space For Reading & Learning Kristina Hertel, Reem Charif, Toshiya Kogawa, Charlotte Harris, Christian T Groothuizen, Stephen Baty, Renee Tobe, Vanessa VandenBerghe, Debra Shaw, Michele Roelofsma, Nasios Varnavas, Aurore Julien
A space for reading and learning How and where do we read? How much space do we need to read? How do we create space around us when we read? Do we enjoy to read alone or in company? Which environments and spatial conditions stimulate reading and allow us being fully immersed in a book? Portable reading rooms - Reading in the Landscape This year’s briefs explored different scales of reading spaces. After engaging in those initial questions through drawings and 1:1 spatial testing, students were given a live a competition brief, to design a siteless, portable reading room for 2. What started from a very personal place, was expanded and the ideas taken to the coast, and cliffs of Margate. Reading in the landscape,- library on the edge, was the follow-up brief, for a design of a small library space for a very specific site context, and introduced children as the client. Deptford Creek - New learning spaces and library on Creekside This years London site lies in an area of predominantly post-industrial state of development, with a series of larger art institutions, i.e Trinity Laban School of Dance, and Cockpit arts, in the immediate neighbourhood. It occupies an ex gasworks, and now brownfield site, flanked by the London & Greenwich
DEPTFORD CREEK LONDON LOGNE, WUPPERTAL, GERMANY
Railway to the north, and sharing a soft border with Deptford Creek to the East. Our client is the occupant of the site, the Creekside Discovery Centre, an educational Charity, engaging and educating a mostly young audience in urban wildlife, and the environment of the Deptford Creek itself. Students had the task to replace their current building, an early example of green-architecture, with new learning spaces, allowing for an expansion of the previous room programme, and including a library / reading-room / archive as a new core space for the centre. Designs were informed by spatial concepts from precedent studies in Barcelona, and London, as well as sourcing from the earlier projects in term 1.
Critis and Collaborators Emil Anderson, Adam Cheltsov, Issac Cobo Y Displas, Rob Houmoller, Rosaly Kortz, Carsten Jungfer, Anastasia Karandinou, Hiroyuki Kurashima, Colin O’Sullivan, Michele Roelofsma, Sib Trigg, Keita Tajima, David Unterhofer, Bjorn Wang, Ramsey Yassa. Special thanks to: Ricardo Flores & Eva Prats, The Team at Deptford Discovery Centre, UEL workshop staff and UEL printing studio. @uel_first_year_architecture [Instagram]
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P81 BSc Architecture First Year
Students Ahmad Feroz, Charles Mendoza, Doua Khila, Ionut Stefan Apostol, Korell Llaudes, Naima Khan, Rova Taha, Sonia - Elena Stefanescu, Sumaiyabinte Ismail, Victor Telecky, Christos Karamanos, Haider Ali Khan, , Tobi Yeoman, Yucel Karatas, Jennifer Glowacka, John Paul Nasayao, Ahmed Khan, Silvia- Mihaela Gramada, Shimoon Mohammed, Esra Karakoc, Balla Ngom, Adrian Grant, Bahar Bozyigit, Mohammed Hamza Ahmad, Cristina Rosculete, Ebru-Deniz Gunduz, Joseph Monroy, Mohammed Mubin, Paula Mema, Simone Pamio, Stephanie Stocks, Taylor Stephens, Rysharn Hewitt-Singh, Brandon Williams, Gaurav Patel, Hamda Jama, Patryk Filuk, Zoe Kalou, Le’quan Bailey, Musfica Rahman, Filip Szypula, Orinkleo Heta, Mahbubur Rahman Tahmid, Alan Paragioudakis, Joseline Daniela Sarsoza Yanchaliquin, Lea Mae Cuizon, Luyindula Magonda, Maddassar Kahn, Nasir Latif, Muhammad Taj, Seyed Mohammad Ali Rezvani, Zaki Nayif, Asad Mohamud, Ainsley Moffat, Carl Reyes, Kacper Jajuga, Josephine Nyanteh, Muhammad Imran Al-Madani.
P82 BSc Architecture First Year
01 Pressure Point Extension study; Hamda Jama 02 Testing personal reading space; Sumaiyabinte Ismail 03 1:1 study Model of reading space; Jennifer Glowacka 04 Childrenslibrary fro MArgate beach; Charles Mendoza 05 Time collapse Margate Edge; Silvia Mihaela Gramada 06 Handless, wind swept reading space; Silvia Mihaela Gramada 07 Open and enclosed conditions study model; Hamda Jama 08 Reflected Extensions reading room model ; Taylor Stephens
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P83 BSc Architecture First Year
P84 BSc Architecture First Year
09 A Library from the Sea, proposal composite drawing; Simon Pamio 10 Garden square community reading room; Jennifer Glowacka 11 Proposal for a small reading space on the cliffs of Margate; Viktor Telecky12 Spatial strategy for Margate proposal; Viktor Telecky 13 Cliff Erosion Library; Cristina Roscuete 14 Cliff Erosion study; Cristina Roscuete
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P85 BSc Architecture First Year
P86 BSc Architecture First Year
15 Reading Room view; Patryk Filuk 16 Edge condition analysis; Patryk Filuk 17 Settling Up, Final proposal section Margate reading room, Patryk Filuk 18 Edge Definer; Reading room proposal; Paula Mema 19 Reading Room re-placement testing; Hamda Jama 20 Margate Reading Room testing and Analysis; Bahar Bozyigit 21 Reading Room re-placement concept collage; Bahar Bozyigit
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P88 BSc Architecture First Year
22 Edificio 111 study print; Carl Reyes 23 Study Print South London Gallery Courtyard space; Robert Venning 24 Sala Beckett Study print; Hamda Jama25 Proposal Collage; Hamda Jama 26 Study Print La Massana Barcelona; Yucel Seckin Karatas 27 Testing the precedent study cast in Deptford Creek site ; Ahmad Feroz 28 Appearance and Disappearance of water; Simone Pamio 29 Study print South London Gallery; Le’quan Bailey 30 Dynamic Waters proposal Section for Depford Creek site; Simone Pamio
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P89 BSc Architecture First Year
P90 BSc Architecture First Year
31 Urban Axonometric of Deptford Site New Learning Space proposal; Viktor Telecky 32 Visual Voyage, proposal plans of Final Proposal; Paula Mema 33 Visual Voyage, proposal inhabited section of Final Proposal; Paula Mema 34 View over the industrial edge of Deptford Creek from first floor Classroom of the new Learning Centre; Viktor Telecky 35 Print of Precedent study Edificio 111, Barcelona; Viktor Telecky 36 Model-study of Edificio 111 Courtyard, Barcelona; Viktor Telecky 37 Groundfloor plan of new learnign space for Deptford Creek; Korell Llaudes.
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P91 BSc Architecture First Year
CAST MODEL STUDY
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Cutting through the model helps understand its spacial richness. Creating different openings triggers the thinking process.
The courtyard of Edifício 111 is a very intriguing space. The big open volume in the middle branches to the sides. These narrower spaces in reality are entrances to the actual building units. When given the third dimension, these corners become even more dramatic.
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When experimenting, the given scale stops being important. The open and spacious courtyard transforms into a small seating area that can hold a body. The atmosphere of the very same object shifts from the feeling of roominess to the exact opposite. Building blocks form seating areas (1), surfaces to place a drink (2) or shelves to store books (3).
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P92 BSc Architecture First Year
38 Excavation/elevations analysis; Silvia Mihaela Gramada 39 Excavation/ elevations analysis; Silvia Mihaela Gramada 40 Sectional study over time and tide; Silvia Mihaela Gramada 41 Dancing Thresholds Final section; Patryk Filuk 42 Dancing Thresholds Prespectival section; Patryk Filuk 43 Proposal axonometric; Patryk Filuk 44 Landscape prespective; Patryk Filuk
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First Year
Stephen Lawrence Bursary
Bursary Applicants 2019/20: Charles Mendoza (45), Bahar Bozyigit (46), Ahmed Khan (47), Josephine Nyanteh (48) Esra Karakoc (49), Simran Maria Pires (50), Rova Taha (51), Korell Llaudes (52), Muhammed Abdul Mubin (53). 46
On the evening of 22 April 1993, Stephen Lawrence, a 19 year old from South East London was racially attacked and murdered because of the colour of his skin. Due to institutional racism it was only 18 years after his death that two subjects were charged with and imprisoned for his murder. Racially motivated attacks continue. This year, on 25 May, 2020 George Floyd, a 46 year old black American was killed by policemen. His last words were: I can’t breathe. Each year UEL awards the Stephen Lawrence Bursary to two first year BAME students to support them not only in their studies but also through mentoring. Previous and current recipients from higher years form the judging panel. This year’s recipients are Korell Llaudes and Charles Mendoza. Black lives matter; everyone deserves to breathe. 47
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P95 BSc Architecture First Year
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Unit A
Civic Infrastructures
CARSTEN JUNGFER, FERNANDA PALMIERI
Henri Lefebvre understands the formation of space as the outcome of collective action and therefore as “social product” itself. Unit A is interested in collaborative processes that support the production of space in urban contexts. Our agenda is to promote learning through engagement in live project sites and create opportunities for knowledge exchange with external partners and communities. Through a research-led design approach Unit A methodology proposes to use architecture as a tool to investigate and think critically, challenging students to develop spatial proposals that focus on the improvement of the social and sustainable urban fabric. This year we continued our collaboration with the London Borough of Hackney and selected Homerton’s civic realm as our study area. Homerton presents today a heterogeneous urban fabric that lacks a sense of shared identity which is aggravated by a series of transitory spaces with high volumes of vehicular through-traffic and air pollution dominating the public realm and causing close-by neighbourhoods to remain disconnected from each other. Despite the fact that Homerton is home to a large, young and diverse population, it lacks civic spaces to dwell, spaces for cultural exchange and recreational activities. While Hackney Council is the biggest land-owner in Homerton, the light industrial area surrounding Homerton station is privately held and it is currently subject to high pressures of speculative private development. The predominant model for urban
HOMERTON, LONDON / LILLE & ROUBAIX
change in the area remains the privately financed residential development, driven by capital gain only. While this mode of regeneration is known to deliver some improvements, it also contributes to a nonequally distribution of positive effects, leading to further urban fragmentation and poor public realm. What if architecture could be geared towards generating social and environmental value placing people and places before profit? And where are the opportunities to create a better connected, more sustainable and inclusive Homerton? We set out to critically think and respond to those questions. Students experimented with alternative approaches to spatial production of civic spaces through architectural interventions that focus on the generation of social value, positive impact to adjoining public realm, well-being and future adaptability, responding to found conditions by addressing spatial, social and sustainable opportunities for 15 project sites across the study area. During the year students participated in a number of events with external design professionals, members of Hackney’s planning department and local stakeholders, exchanging their knowledge and design thinking, thereby contributing to the ongoing public debate. This years’ field-trip to Lille, Roubaix, Dunkirk and Lens allowed us to research and experience a number of outstanding civic spaces and buildings to understand how they work in their respective contexts. The dialogue about those precedents
uel23ua.blogspot.com/ @unit_a__uel [Instagram]
Special thanks to: Visiting Critics: Blanka Hay, (London Borough of Hackney LBH), Conor Keappock (LBH), Cory Defoe (LBH), Dickon Hayward (Material Works), Felix Xylander-Swannell (FXSA), Kristina Hertel, Larry Evans (LBH), Lily Dowse (Build-up), Miranda Botcherby (LBH), Mo Wong (MOCT Studio), Norbert Kling (zectorarchitects), Rosa Rogina, Shenique Bass Contributors: Alexis Dawson (Le Grand Sud), Aya Elshaarawy (L’Arbrisseau), Clive Main (St Barnabas Church), Emilie Durigneux (SEM Ville Renouvelée), Francesco Bernabei (LBH), Huan Rimington (Build-up), Julien & Jeraldine (Mediatheque La Madeleine), Lizzie Bird (LBH), Luke Billingham (Hackney Quest), Naima Gaye (Flow), Paul Monks (Core Arts), Remi (Lycée d’Hoteliers), Robert Helmholz
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became the shared point of reference for individual design proposals in Homerton. Students developed their own briefs and projects based on the idea of civic infrastructure as shared places of collective activities and reproduction of social life, places for learning, recreation, well-being and local production. There is an openness that unites all proposals by engaging multiple users-groups across extended timelines into the everyday of Homerton. The projects explore a bandwidth of architectural, strategic, sustainable and contextual thinking, including ideas of urban greening tackling air-pollution, renewable energy loops with bio-digesters and self-build, which informed and drove the proposals which included a bicycle workshop, swimming pools, climbing centres
and sports hall, scout-hub, nursery, library, wellbeing hub, urban culture centre, research centre, community gardens and cafes, educational facilities and a dance and performance hall connected to the existing railway infrastructure. The need to improve urban living, to decentralise activities, create local networks of mutual-aid and tackle urban inequality have never felt so urgent as now, facing the coronavirus pandemic, that disproportionally impacts dense and deprived urban environments. We believe that the student work developed this year makes meaningful contributions to the debate about the future of our cities, more specifically, to our future as a more decentralised, equitable and sustainable London.
P97 BSc Architecture Unit A
Students Y3: Alaina Williams, Alfred Hatch, Gabriel Llonor, Guy Mukulayenge, Harry Zimmerman, Julian Imossi, Kalin Petrov, Leticia Martins, Mariam Touray, Rositsa Vangelova, Sachini Palliyaguruge, Sena Bektasoglu, Solara Hiwot Kiros, Theodor Bjerke, Zahraa Shaikh, Zaira Banaag, Zeena Ismail Y2: Aleksandra Hoffmann, Ali Mohamed Elnour, April AdrienGreenwood, Junicila Cardoso Santos de Oliveira, Muayad Tuma, Nathalia Alejandra Cardona De Castro, Thomas Joy
P98 BSc Architecture Unit A
1 Urban strategy drawing by Alfred Hatch: incremental upgrades to Gascoigne and Wyke estates introduce new types of green spaces and public realm in combination with civic programmes relating to gardening, local grown food and production of renewable energy through bio-digestion 2 ‘House of Dance’ is a proposal for a local performance space and rehearsal studios above a new public square with entrance to Homerton’s overground station. A network of public walkways traversing multiple levels hangs beneath the hull of the building to enhance and encapsulate public access and multiple relationships between ground, station platform and the building. This new type of venue will allow various local groups performing arts groups and schools to converge in one place, creating a vibrant and creative hub in the centre of Homerton, by Thomas Joy (entire spread) 3 ‘Eco-Spiral’ is an extension to Homerton’s Library, upgrading and extending existing functionality: The small building unfolds along a vertical journey with spaces to read, dwell and reflect along the way. Forming a new entrance and event-space onto Brooksby’s Walk, it connects to the 1st floor and to the new roof garden and play-space on top of the existing library, by Muayad Tuma.
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P99 BSc Architecture Unit A
P100 BSc Architecture Unit A
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4 ‘Homerton Sports Centre’ aims to deliver critically needed recreational facilities for the local youth: The multifunctional sports hall with auditorium together with climbing centre is shared between Berger primary school and various sport groups, Zaira Banaag. 5 ’Air Lab’ is a sustainable building proposal and political statement of relevancy (covoid-19), that aims to educate, monitor and reduce air-pollution across Homerton, by Solara Hiwot Kiros 6 ’The ‘Well-being Centre’ is extending Homerton Hospitals’ rehabilitation ward to the corner of Chatsworth road. It offers a range of shared spaces for patients, visitors and locals to engage in collective activities including a communal hall and kitchen, library, cafe, youth club and a roof garden, Guy Mukulayenge 7 The ‘Hospitality Academy’, provides further education and work experience to young people with programmes related to professional cooking, baking, food, drink and event servicing. The academy includes a restaurant, bakery and coffee shop that are run by trainees, Rositsa Vangelova
P102 BSc Architecture Unit A
8 ‘The Beacon’ is for Homerton’s children of different age groups and aims to provide a safe and attractive after-school environment: spaces for workshops, quiet learning, an internal garden and an observatory to enjoy panoramic views across East London’s neighbourhood, Aleksandra Hoffmann 9 ’‘Homerton Hall’ is an adaptable multi-use building that aims to serve Homerton’s diverse population as a place for cultural exchange in the widest sense: Markets, performances and events, exhibitions, community space. As central anchor point for the community, it activates Homerton Grove Park, links up with Chats Palace and Castle Cinema, extends Chatsworth Road Market and connects Clapton Park area, Mariam Touray. 10 ‘Hub Homerton’ is a strategy that engages with Homerton’s industrial building heritage to promote community focussed and sustainable modes of regener-ation, Theodor Bjerke 11 ‘Green Route’ propagates the idea of growing more sustainable neighbourhoods through knowledge transfer, Kalin Petrov
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P104 BSc Architecture Unit A
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P105 BSc Architecture Unit A
12 ‘Homerton Green House’ is a multi-dimensional design strategy that critically rethinks the urban residential neighbourhood, in the context of the current climate emergency. The proposal engages multiple local stakeholders to work collaboratively to reduce environmental impacts, produce local food, generate renewable energy through waste, promotes self-build processes and environmental activism and sets out a plan for a radical green vision through tree-planting, Alfred Hatch 13 ‘Play-scape’ propagates opportunities for unexpected encounters, places to dwell, chance discoveries and better spaces to play at Banister House Estate. The strategy seeks to upgrade existing community facilities and surrounding public realm. It carefully places a new nursery building into the centre of the local community. The architectural language of folding external walls, generous thresholds and dramatic use of the roof forming a distinct spatial sequence, support the users to experience an ever expanding field of playful discovery and storytelling, by Zeena Ismail
Unit C
Climate Responsive Design: Silvertown Regeneration DR. HEBA ELSHARKAWY, DR. HAITHAM FAROUK
The current global sustainability agenda supported by momentous bottom up initiatives such as Extinction Rebellion, Global Climate Strikes, etc. raises the significance of low carbon design. Hence, creating low carbon buildings through more efficient use of resources helps reduce harmful greenhouse gas emissions and enhances people’s health and wellbeing. Unit C sought to develop thoroughly considered architectural propositions that aspire to achieve low to zero carbon design. The unit ethos supports the UK Architects’ declaration for climate and biodiversity emergency where over 600 architectural practices signed the pledge to ‘adopt more regenerative design principles in our studios, with the aim of designing architecture and urbanism that goes beyond the standard of net zero carbon in use’. We have been working in collaboration with London Borough of Newham, Greater London Authority (GLA) and Lendlease on this live project located in Silvertown, on the industrial Millennium Mills site. We explored climate responsive design through passive design strategies, with a focus on the influence of daylight and designing with the sun on people’s spatial experience, wellbeing and comfort. We also investigated various materials of low embodied energy and sustainable construction techniques to ensure a low-zero carbon footprint of the new-built scheme. The programme included visits and meetings with the developers, contractors, architects and members of
London & Machynlleth
Silvertown community to discuss and exchange ideas and further develop the design proposals. Our study trip was to the Centre for Alternative Technologies (CAT) in Machynlleth ,Wales. The key objective of the study trip workshops and sessions was to start us thinking about climate responsive design, sustainable design techniques, and environmentallyfriendly materials that can inform our design projects. The trip started with a CAT site introduction and tour which covered the history of the site and of CAT and introduced the key sustainability themes used on site from renewable energy through to a wide variety of examples of environmentally responsible buildings. We were inspired to think about the different material properties required for building. We were then introduced to low carbon footprint alternatives to more commonly used materials and the concepts of embodied energy and legacy. We were then shown various low embodied energy materials and saw examples on site – the Sheppard Theatre the highest rammed earth walls in Britain, made using 320 tonnes of graded earth! We were also reminded of the current UK government’s target to reduce C02 emissions by 80% by 2050 and consider ‘what will Britain be like without carbon emissions?’. This was followed by straw bale building and earth building practical workshops and getting hands dirty. We also experimented with cob, clay plasters and adobe as potential building materials.
Year 2; Abdulmajiid Omar, Alten Gomes, Chun Kiu Michael Ngam, Czerrina Salayog, D`Andre Clarke, Dilnaz Mohammed, George Gabriel Ionescu, Laila Rose Kricha, Louis Linnemann, Luke Milsom, Lewis Oscar Curtis, Muhammad Tawfik, Oscar Frith, Sumaya Sheikh-Ali, Vatsal Javiya, Lewis Smith
Special thanks to: Visiting Critics: Vasiles Polydorou (Allford Hall Monaghan Morris AHMM), Min Yang (Foster and Partners), Richard Briffa (Nucleus Design Studio), Mina Hasman (Skidmore Owens and Merrill, SOM), Ben Ward (Skidmore Owens and Merrill, SOM), Rachael Owens (Buckley Gray Yeoman), Carl Callaghan, Catherine Phillips. Technical Studies tutors: Hwei Fan Liang, Christian Groothuizen, Jennifer O’Riordan, Marek Glowinski, Jeff Tidmarsh, Dr. Aurore Julien. Collaborators: Jessie Lenson, Lendlease, Kellie Tonkyn, Regeneration and Planning, London Borough of Newham, Paul Allen, Kit Jones, John Urry, Centre for Alternative Technology,
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P107 BSc Architecture Unit C
Students Year 3; Abu AbdulMahzar, Chelsea Anderson, Glenn Altarejos, Taha Faour, Suha Kardaman, Valerie Morgan, Victor Velev
P108 BSc Architecture Unit C
1 Panoramic view collage of the Millennium Mills site, Laila Kricha 2 Location of the site within London, Suha Kardaman. 3 ‘Personal interpretation sketch of the Millennium Mills and the project site, Lewis Curtis 4, 5 Study trip to the Centre of Alternative Technologies investigating various sustainable materials; cob, rammed earth, strawbale, adobe, and visiting the Sheppard theatre which has the tallest rammed earth walls in the UK. 6 Brittania Village historical cranes sketch, Abu AbdulMahzar 7 Personal reflections of Silo D on site, Chelsea Anderson 8 Wildlife on and near the site at Tottenham Marshes, Abu 9 Watercoloured sketch of the Grade2 listed MM and SS Robin boat, Gelnn Altarejos. 10 Handrawn sketches of the historical maps of Silvertown; 1930, 1960, and 2019, Dilnaz Khatun. 11 Design concept development and feasibility studies, Michael Ngam. 12, 14 South facade and section of the design scheme, Michael Ngam. 13 Axonometrics of one-bedroom and two-bedroom flats, Michael Ngam. Axonometrics 3
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P109 BSc Architecture Unit C
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P110 BSc Architecture Unit C
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P111 BSc Architecture Unit C
P112 BSc Architecture Unit C
15 Ground floor plan illustrating the indoor and outdoor cafe seating spaces, associated facilities, gym, horizontal and vertical circulation and a one-bedroom flat, Michael Ngam. 16, 17 Approach to the w,aterfront cafe, & solar shading strategies for south facing elevation including balconies and louvers, Michael Ngam. 18 Ground floor plan showing the cafe spaces, residential entrance and central atrium, Muhammad Tawfik. 19 3D model explorations for using containers as a modular construction system, Luke Milsom. 20, 21 Layout and north facade, Muhammad Tawfik. 22, 23 Visuals of the project created with insulated shipping containers, Luke Milsom. 24 First floor plan showing vertical circulation cores and flats layout, Laila Kricha. 25 One-flat and two-flat prototypes, Laila Kricha. 26, 27 Visuals of the vertical greenery on the structure exoskeleton, Louis Linneman. 28 Outdoor waterfront cafe space, Dilnaz Khatun. 29 View from the terrace, Dilnaz Khatun. 30 Exploded axonometric illustrating cafe levels, two-bed and one-bed flat layouts,
and roof terrace, Dilnaz Khatun. 31 Bird’s eye perspective illutsrating the stepped project form for solar exposure, Dilnaz Khatun. 32 Ground floor plan illustrating the waterfront cafe in the north, and flat layouts, Dilnaz Khatun. 33 Ground floor plan of the Cultural Centre which includes a cinema theatre, gym, worshops and office spaces, Victor Velev.
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P113 BSc Architecture Unit C
P114 BSc Architecture Unit C
34 Project Motus; which includes a gym, sauna and swimming facilities, view from the docks, Suha Kardaman. 35, 36 Inhabited sections, Suha Kardaman. 37 Sustainability ambitions in Project Motus, Suha Kardaman. 38 Elevation of the Community Leisure Centre, Abu Abdul Mahzar. 39 Ground floor plan illustrating the swimming pool complex, cafe and library, and 40 Exploded axonometric demonstrating the structural system and materials, Abu Abdul Mahzar. 41 Gound floor plan of Project McLean; illustrating students accommodation (bedrooms and shared living/kitchen spaces), cafe and garden and 42 Section, Glenn Altarejos. 43 External view of Project McLean, demonstrating the conatiners inserted into the structural timber frame., and 44, 45 Sectional perspectives illustrating the structural system and materiality, and 46, 47 Students life in bedrooms and living spaces, Glenn Altarejos
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P115 BSc Architecture Unit C
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P116 BSc Architecture Unit C
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P117 BSc Architecture Unit C
Unit E
“URBAN AEDICULE “
MICHELE ROELOFSMA & ALEX SCOTT-WHITBY
The unit developed a framework within which to study architecture based on the creative tension between a personal architectural plan and a given site. Preoccupation with environmental and social issues concerning highly-charged urban contexts encouraged the development of an intellectual platform through which to explore the year’s projects. The unit’s discussion focused on developing an architectural proposal and urban and strategy for a site in Thessaloniki, Greece. The starting point of the discussion was the recession and the Green policy of the Mayor of Thessaloniki, Mr. Zervas, who aimed to bring a ‘green agenda’ to Thessaloniki by 2020, an ambitious but mature set of interventions to make the city more modern, friendly and sustainable. The environment determines the quality of life, the daily functioning, the citizens’ performance and the attractiveness of a city. Environmental policy is not a luxury. It is about the standard of living, the present and the future of us all. Thessaloniki has extremely poor levels of greenery by international standards and is a concrete jungle. Each inhabitant corresponds to about three sq m. of greenery, while an internationally accepted minimum is ten sq m. Students had the opportunity to make a city more sustainable for its residents and of course, more attractive to visitors. The need for green event/ cultural core spaces and the desire for an exhibition/ cultural centre was the start of the unit’s discussion. The initial idea was to create a synergy between
the Mayor’s intentions and those of humanitarian groups like Pervolarides, a diverse community run by volunteers since 2013, to grow and develop initiatives that support an increasing number of people. These people are struggling to survive and meet their basic needs and experience socioeconomic exclusion because of loss of income, homelessness or because they are classified as refugees and migrants. This is the sad reality of the crisis Greece (and other countries) have been experiencing in the last decade. In an environment where market economies regulate and degrade daily life and interpersonal relationships, Pervolarides come together to form a community that generates an alternative paradigm of solidarity and social cooperation. They create a model of inclusion through social synergies and collective actions that reflect the needs of the community today and of the society they dream of for their children. This is based on food and the relations that are formed throughout the food cycle (from seeding and cultivation, crop collection, processing and cooking, to reclaiming and re‐processing food that would be wasted). During our survey visit to Thessaloniki, the students met with the client who formulated their requirements. This was used as the core of the design brief. The client was extremely happy with suggested sites, “The Old Mercado” and “The Allatini Mill”. Unfortunately, despite his interest in implementing a green policy, the Mayor declined our meeting and presentation. 1 Dylan Cutling study “Urban Audicule “ Lincoln’s Field 2 Architectural study trip to Thessaloniki, the Acropolis 3 “The Old Mercado “ Thessaloniki shop unit 4 The Soane Museum, the Belzoni Chamber
SOANE - THESSALONIKI
Special thanks to: Pervolarides of Thessaloniki TEAM; -Filipos Polatsidis, Georgios Balatsos,Martin Teymori. AKMI -Architecture Team; Dr Athanasiadou Elena, Dr Chourmouziadou Pepi, Mr Charistos, Dr Kotsoglou, Mr Charistos Vassilis, Dr Kotsoglou Anastasios Visiiting Critics; Contributors; Charlotte Harris , Juan D’ornellas, Charles Brown Cole, Owen Hopkins - Soane Museum, Kalikratis Eulogimenos, Yasar Shah, Nick Franklin
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P119 BSc Architecture Unit E
Students Year 3: Oliver BROWN, Hannah CORNELIUS, Hannah SULLIVAN, YingYing-Amy ZHUANG , Thomas DULIEU, Dylan CUTTING Year 2: Nazia BEGUM, Kiana SHOKRANI CHAHARSOGHI, Busthana ODAYAPURATH, Mateusz SASS, Amy-Chloe LEESHUEBOOTH, Amna ZAIDI, Ahmed ABUELMEAZA, Delrick ADIKARI, Riyad HOSSAIN, Maria ZEGHERU, Florentina-Nadina IVANESCU, Mourtada BABOUKARI, Georgia HOGGINS, Izaak SALLOWS, Aya NASR, Pavlos GIANNOPOULOS, Georgios KASTANIDIS, Ezichiebuka EWURUM
P120 BSc Architecture Unit E
The Soane Museum the introduction project. Students were asked to study their favourite part of the museum and use the study as a “seed” for audicule proposal for “The Lincolns Field food hand out point 1 Soane Model by Ahmed Abuelmeaza 2 Proposal for Lincols field “Urban Audicule’’ by Aya Nasr 3 Study of the passage way in the Soane Museum by Kiana Shokrani Charsoghi 4 Plan of the Journey in the Soane Museum by Aya Nasr 5 Platform space based on study of the mirrors and space in The Soane Museum 6 Model Collaged on the Site 7 Lincolns Field evening Food Handout by by Hannah Sullivan Next page: 8 Study Painting Soane Painting represents hidden in between rows of arches narrow tall space, flame and reach still figures by Amna Zaidi 9 Study of the Journey through the spaces in The Soane by Nadina Ivanescu 10 Model of the journey to the favourite place in Soane by Hannah Cornelius 11 Model of the Colonnade full of spacial qualities by Amna Zaida 2
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P121 BSc Architecture Unit E
P122 BSc Architecture Unit E As I entered the crypt, it felt like I was surrounded with darkness with only glimpses of natural light. I felt I had entered an ancient tomb. I could only make my way through the space by narrow passages consumed with shadows. The only light bled out of the narrow spaces between the walls. The only glimpses of daylight came from what could have been a huge crack in the ceiling of the crypt, but as you discover the sarcophagus, it’s as if you have entered the burial room filled with artefacts and treasures kept for passing into the next life. It’s as if you’re an explorer working your way through an ancient ruin captured in time. The narrow slithers of space between the walls could have been secret passages into undiscovered areas, but instead acted as light wells. This is in juxtaposition to how you feel this space and how it should really feel, being narrow and claustrophobic. The light is instead used to highlight different aspects in the room, like the sculptures, and it creates a grand feeling and is all consciously placed around the crypt with a concentration of importance on that, which is illuminated. Oliver Brown
P123 BSc Architecture Unit E This dark narrow long space is part of the South Drawing Room. It conveys nostalgia as it reminded me of home and childhood when I would hide in the closet or under tables. It is fascinating how a new and unique space you just walked in can bring the familiarity of home and be comfortable with it. With all the confusion and overwhelming from the museum, this is the spot that I would hide in and ease my mind. Some would say its claustrophobic, but its height of 4 meters gives you that extra free space of comfort. It makes me feel compact and tight, while at the same time it feels cozy and safe, giving a sense of closure that I enjoy. The space also gives me power as it is tiny and I can easily keep track of everything, while larger spaces are more for observation and do not have the same control. There are others who like to spread in the largest open spaces, but is that really the human instinct? Do we ever really grow out of ‘squatting under the tables’ and hiding ourselves in small dark spaces? Would you like to feel like an ant or a giant in a space? Standing at one end, it gives the illusion of a separate room as entrances are vanished by the perspective. Visually, even though the place is almost 230 years old, it doesn’t look like it. By the materials, style and colours chosen, the architect managed, to this day, to keep the house looking a bit modern. It may give for some the appearance of old house like 30 years old, as one would reimagine their childhood spent at a grandparent’s house. The colours present in the space conveys a lot of emotions. The dominant warm colour being yellow on the walls, brings a sense of joy and happiness, while the dominant cool colour green on the columns and curtains makes one think of growth, nature and wealth. The source of light is an interesting one, with most of it being natural sunlight from the large windows and artificial light from inside of the room. Sense of touching wise, you got hard and soft materials throughout the hallway. If you would walk barefoot straight and keep a hand on the south wall (with windows), your feet will feel soft from the carpet, with one of the foot sometimes touching the metal rack on the floor, while the fingers shifts between the softness of curtains and the toughness of glass, wall and column. All windows opened amplifies the soothing sound of wind passing through tree branches and birds singing, with also some noises coming from pedestrians and the motor of the vehicles passing. One can smell the fresh air from a sunny day. The rest of the Drawing Room smells like old carpet and paintings. The hallway is the middle point where one can smell both old furniture and fresh air. The journey to get here is by going through basement to get up. It is the shift from a vertical journey to a horizontal one. The main entrance for the public is from number 12, but to get to number 13, one must go through basement. Amy Zuang Yingying
P124 BSc Architecture Unit E
Thessaloniki Project is working towards a proposal for the PERVOLARIDES Community; Cooking/food prepare that is reclaiming food. These products are processed, repacked or cooked into hot meals. Reprocessing fresh food, redistribution food, urban gardening, where they grow food as well as share methods of food cultivation and processing of organic household waste into gardening compost and fertilizer. Other acrtivities include bee-keeping and olive collections. Connecting producers and consumers through a scheme which facilitates access to affordable, locally produced organic food, while ensuring that producers are guaranteed an ongoing demand for their production at a fair price. Educational spaces training activities and workshops (food cultivation, food processing, bee-keeping, etc.) that support the development of vocational skills and the creation of employment possibilities Two possible locations In the walled City location A. Old Mercado, or location B. Allatini Mills Site. 1 Site “Old Mercado” In the walled City location A on the map 2 Massing model Green House and Cooking and Teaching Facillities by Delrick Adikari 3 Fragment study model Roof vegetable gardens and teaching rooms by Mourtada Baboukari 4 Propsal Kitchen Space, and shop by Amna Zaidi 5 Court yard space + event space by Amna Zaidi
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P125 BSc Architecture Unit E
Allatini Mills Site B 1 Alitina Mills site, ”The Old Mill“ 2 Pavlos Giannopoulos 3-4 The Allatini Mill
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P126 BSc Architecture Unit E
Delrick Adikari-1 Massing model study 2 Long section over the Mercado site 3 Model fragment of the workshop, education and garden spaces 4 Ground floor workspace 5 Detail joint Thomas Dulieu- 6 Idea Sketch garden space and events 7 Long elevation 8 Section North Eduaction space 4’ An indepth look at the Old Market Site’s activity in relation to proposal insertion and proposed shops. 5’ Interior view of Dinning Area showing hoow the space is used, how the light comes in and the views seen from the space, by Amy Zhuang YingYing 1
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P127 BSc Architecture Unit E
Amy Zhuang YingYing: 1 Isonometric Old Market with location of possible interventions based on Soane Study 2 Small interventions accomodation , workshops, education spaces, prefab pieces 3 Gradual Population of the site with a limit 4 Long East section accomodation , kitchen dining spaces and workshops 5 Entrance space on north leading to the Dining Room based on the Soane Studies. Dylan Cutting: 6 Four studies
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Many adhoc structures are thrown all over the site giving an odd shanty town vibe. Some of the most exiting structures are built at the head of the grounds. Nearly three stories tall propped up on fine steel rods, looks ridiculous but there is a simple enjoyment from this view. It is certainly the height relationship that makes it such an oddity. Voided Photogram Creating a form with the absence of anything makes it far easier to visualise the project in a real world setting. These forms created at night when usewill emit a light from within like a dim beacon, by Dylan Cutting.
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P128 BSc Architecture Unit E
Hannah Sullivan Proposal for Thessaloniki Pervoladis: 1 Section 2 Plan of proposal 3 Exploded axonometric
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P129 BSc Architecture Unit E
The Gardeners of Thessaloniki City Location: Thessaloniki Allitni Mills Brief : Food Hub Location:Thessaloniki, Project: Allatini Mills Food Hub Client: Pervolarides charity Users: The community
This project’s aim was to create a ‘safe space’ within the heart of the outer city community of Thessaloniki city. A community run NPO kitchen set in the heart of an abandoned old mill site was created to support those in need of food while protecting the land it sits upon. Thessaloniki has a very disheartening level of international greenery and so one of the main environmental aims of the project was to show how a project can thrive and work alongside nature, while being self sufficient and respectful of its surroundings.
Each segment of building is elevated above the ground plane with minimal foundation use to protect the existing site. The spaces within the proposal are centred around the main kitchen area where many can congregate and cook together, expanding from this are storage areas and a large workshop area that caters for the many workshops that the charity run.
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Unit G
PENINSULA ECOLOGIES
HWEI FAN LIANG AND CHRISTIAN GROOTHUIZEN
Unit G combines dual interests in temporal and ecological aspects of architecture. We are interested in taking a cinematic approach to narrative architectures, as well as exploring our role within the social and natural ecologies of the city. This year we continued to explore the future of cities: We are an increasingly urban species with the majority of the world population now living in large urban centres. We explored how these everexpanding cities could enable other species to thrive alongside us – and the ways in which this could be mutually beneficial, creating new strategies for urban living in a changing climate. Where the River Lea meets the Thames it winds and meanders, forming the Leamouth peninsula. Once home to East London industries ranging from shipbuilding to food processing, the peninsula is now being regenerated into high-rise neighbourhoods, adjacent to an existing community of artists and makers at Trinity Buoy Wharf and surrounded by the Thames tidal river edge and other post-industrial wildlife habitats and havens. We explored the role of cultural and artistic activities, as well as the potential role of non-human occupiers, in this place of contrasts and contradictions. Students developed individual propositions each weighted towards a personal approach to urban biodiversity, ecological infrastructures, integrating food production, or the role of the arts and artistic practice in connecting communities.
LONDON, BRISTOL & SOMERSET
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@unit_g_uel [Instagram]
P131 BSc Architecture Unit G
Students Year 3: Alex Palus, Cassius Cracknell, Constantin-Adrian Sirboiu, Daniel Kwaku Poku-Davies, Dominika Kupczyk, Eugene Yu Jin Soh, Hakeeme Zain, Jamal Uddin, Jared Kaleta, Jessica Corelli, Lee Aglae, Mandeep Rooprai, Matthew Meyjes, Natalia Labuzinska, Shan Koon Koon, Stefanos Troullides, Teodora Manolescu, Yessica Rincon Toro Year 2: Arif Khalid, Daniel Meier, Kiran-Preet Singh, Matthew Burford, Sarah Alkhazraji.
Special thanks to: Visiting Critics: Alison Crawshaw, Anna Gibb, Anthony Powis, Bruce Irwin, Dhara Bhatt, Harald Trapp, Ian Mackay, Jayden Ali, Jenny Kingston, Josh Heather, Kit Stiby-Harris, Nick Franklin, Olga Lucko, Simon Tucker, Suren Prabaharan, Susan Withers, Will Bishop-Stevens, Will Lindley. With thanks to: Ian Felton (Trinity Gallery / Unity Arts), Justin Masterson (English National Ballet), the Drawing Matter archive, Caroline Nash, Darryl Newport, Elizabeth Westhead and Stuart Connop.
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P132 BSc Architecture Unit G
Our first explorations of the existing places articulated observations and interpretations through film and drawing – looking for spaces ‘in between’, the qualities of light and sound influenced by the natural and built landscape, and the atmospheric and ephemeral within the tactile and tectonic. Below: 3 Bird inhabitation study (Matthew Meyjes). 4 Sound mapping (Daniel Kwaku Poku-Davies). 5 Unfolded sound walk (Yessica Rincon Toro).
Previous page: 1 “The Grow Collective” is a model for self-sustaining communities through urban food production and social exchange (Cassius Cracknell). 2 “Tidal As Pedagogy” is a creative learning school situated in the artistic community of Trinity Buoy Wharf, itself surrounded by redevelopment (Daniel Kwaku Poku-Davies).
Opposite page: 6 Scales of inhabitation, residents of City Island (Jessica Corelli). 7 Looking up, Botanic Square (Teodora Manolescu). 8 Speculative footbridge narratives (Daniel Kwaku Poku-Davies). 9 Cast desire lines, Trinity Square (Daniel Meier). 10 Cloud shutter film study (Natalia Labuzinska). 11 Man in movement film study (Stefanos Troullides). 12 Leamouth histories (Jessica Corelli). 13 Reflected sounds (Shan Koon Koon).
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P133 BSc Architecture Unit G
P134 BSc Architecture Unit G
A speculative intervention for Leamouth – a room or device or something between/both – allowed different ways of re-imagining or navigating the existing site and surroundings, sometimes leading to architectural motifs.
18 Lea river restoration using managed algae production for bio-based materials, speculative collage of new footbridge connecting City Island and Bow Creek ecology park (Jamal Uddin).
14 “Conversation device” encourages curious strangers to engage, play and re-purpose, leading to 16 ”Inside Out Classroom” concept (Daniel Kwaku Poku-Davies). 15 “Mobile Paint Palette” inspired by collecting materials for natural dyes on a walk along the Lower Lea Valley, and 17 worm’s eye isometic of device interior, top-lit with shadows cast through collected objects (Matthew Meyjes).
19 “Culture X Future” combines food production with cultural workshops and public spaces: 20 farming adjacent to dance studio, 21 view from vertical farm across to greenhouse and public terrace, 22 and 23 a typical afternoon in the undercroft games court overlooked by market activities in the public square (Eugene Yu Jin Soh).
Proposals grew from students’ individual concerns about the near future of urban living, with a range of ambitions including connecting new and existing communities, making space for artistic practice, restoring river ecologies, accommodating non-human occupiers, and intensive urban farming.
24 and 25 A natural community art centre where produce grown on the building or foraged locally is used for creating natural dyes and artwork. The building creates a habitat for birds as well as plants, and explores themes of decay as inspired by a boat wreck revealed on the site at low tide, viewed from a hanging walkway below the gallery and studios (Matthew Meyjes).
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P135 BSc Architecture Unit G
P136 BSc Architecture Unit G
26, 28, 29 and 30 “Rebalancing Ecologies” algae paper and print workshop carefully rebalances social and biological ecologies such as algae blooms, waste paper management and connecting communities. The building re-uses steel beams from a nearby former warehouse, which until recently housed the residential development marketing suite (Jessica Corelli). 31 “Leamouth Community Theatre” creates a space where the emerging communities of new developments can meet and create their own identity through informal and formal theatre. 27 study model of existing steel frame in context (Yessica Rincon Toro). 32 A sequence of connected buildings fronting onto new public space contains gallery, artists’ studios and riverside cafe to complement the creative industries of Leamouth (Stefanos Troullides).
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34 “Captured Visions” proposes a photography shoot studio, darkroom, digital workspace and gallery, exploring the concept of three stages of photography as aperture, exposure and projection (Natalia Labuzinska). 35 “Glimpses of the Arts” acts as a gateway for the community around Blackwall and East India to access the arts institutions of City Island and Trinity Buoy Wharf, providing spaces for collaboration and inspiration. 33 collage plan exploring platforms for incidental viewing and performance (Hakeeme Zain). 36 and 37 “Riverside Music Hall” takes advantage of panoramic views from the public level across the river and down into a sunken concert venue. Practice rooms for local youth music education are ringed around the first floor (Teodora Manolescu).
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P137 BSc Architecture Unit G
P138 BSc Architecture Unit G
38 to 40 “The Grow Collective” is a hub for community food learning, growing and exchange, as well as a landmark for the Lea river park; the local neighbourhood becomes a productive landscape (Cassius Cracknell). 41 and 43 “Explore East London Studios” transforms the dock basin into a sanctuary for the endangered European Eel, in combination with film studios and sound production (Jared Kaleta). 44 to 48 “Tidal As Pedagogy” creative learning school with stimulating indoor and outdoor ‘classrooms’ for open-ended activities, as well as dedicated spaces for music and art (Daniel Kwaku Poku-Davies). 42, 49 and 50 “Culture and Community Basin” is a hub for artistic activities that aims to connect artists and communities as well as reinvigorate the Thames Path (Dominika Kupczyk). 38
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P139 BSc Architecture Unit G
Unit H
City Land Process II
Keita Tajima, Rhianon Morgan-Hatch
Unit H continued to explore the relationship between the land, its people and the city through spaces of production. We are interested in how materials of the land can be re-thought and formed to express a specific spatial sensibility and experience, enriching our architectural approach to the city and design of spaces whilst revealing the intricacies of place-memory. We work to examine the role of the architect as a collector of common heritage whilst simultaneously using this knowledge to propose urban transformations through material experimentation and the coupling of existing and proposed technologies. This year, the unit research and projects are based in Montemor-o-Novo, a town of ancient origin in the region of Alentejo, Portugal. Like many towns in Alentejo the population of the town reached its peak in the 1950’s and has been decreasing ever since. However, in the past 20 years, young artists and makers have been returning to the town due to opportunities afforded by abandoned buildings, low-cost living and access to space and resources: in contrast to life in larger cities such as Lisbon and Porto. We have worked closely with Oficinas do Covento, the art and cultural organisation based in Montemoro-Novo, exploring the potential of the design and construction of architecture as a series of collaborative acts, uncovering the strengths of researching and building together, particularly working closely with the residents and municipality facilitating cultural events, educational programmes, and artistic and
PORTO, EVORA, MONTEMOR_O_NOVO
architectural activities in the town. Unit h students engaged in a series of material workshops organised by the OdC as well as a series of discussions about the material culture of the region, the current situation and the future possibilities of the town during our trip. Students have explored possibilities of educational and cultural civic infrastructure that have been developed collaboratively in order to enrich the relationship between the city, its inhabitants and the landscape. With increasing awareness of the various environmental crises we are facing, we have investigated how this plays out on a local, rural level. Whilst the vernacular building methods used in the region are inherently sustainable, economical and accessible, together we have reflected on the possibilities of how embedded knowledge can improve resilience in this area against factors such as desertification that will ultimately transform the landscape and therefore current ways of life. Moving away from a view of idealistic landscapes or nostalgic rural images, the students carefully observed and uncovered the landscape and rural towns as found and through this process formed a response and propositions that look at the unforeseen future of this region of Alentejo. We’d like to thank all of our students who have been through a particularly difficult time and despite this have managed to deliver fantastic work this year, and to everyone who has supported unit h both in London and Portugal.
@unit_h_uel [Instagram]
Special thanks to: Visiiting Critics; Adam Cheltov, Colin O’Sullivan, Charlotte Harris, Christopher Thorn, Andrew Houlton, Philipa Longson, Olivia Page, Philip Christou, Legend Morgan, Neil Dixon, Tania Teixeira, Nikolay Shapazov. Contributors; CECHAP: Armando Quintas, Oficinas Do Convento: Tiago Frois Dias Silva and the staff. Lucile Couvreur, Mafalda do Rosario, CRU: Tania Teoxeora, Olivia Page and staffs, SKREI : Pedro Jervel, Fransisco Adao Da Fonseca, Studio 2 London Metropolitan University, UEL workshop: David Morgan, Daryl Brown, Mark Sowdon, University of Evora : Aurora Carapinha, Rute Sousa, Kanto Iwamura.
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P141 BSc Architecture Unit H
Students Year 3; Hamidah Adesanya, Daryl Ignacio, Tashan Auguste, Dayanara Mabad, Adrian Moussaid, Barnabas Madzokere, Richard Okyiri, Ahmad Bahsoon, Spencer Dela Cruz, Hanna Tweg, Giannina Sedler, Suphawadee Maneerat, Hayat El-Hadi, George Moldovan Year 2; Harby Franco Fernandez, Timothy Charles Eves, Marta Macczak, Shuhada Sabri, Yulia Tanana, Haleema Ahmed, Rahat Kamal, Mahabub Alam,
P142 BSc Architecture Unit H
1 Unit h studio, after making week 2 Figure and ground plan of Montemor-o-Novo by Ahmad Bashoon 3 Site sketch by Shuhada Sabri 4 Site investigation, paving pattern by Barnabas Madzokere 5 Test model for the galley space by H.Andre Fernandez 6 Site observation on “in-between” prints by Haleema Ahmed 7Window space collage by Haleema Ahmed 8 Proposed additional workshop space by Timothy Eves 9 Sketch proposed plans for the hillside lodges by Haleema Ahmed 10 Threshold space model exploring earthy colonnade space by Shuhada Binti 11 View of the extended workshop as a gallery by Raht Kamal 12 Material exploration of junction space by Rahat Kamal 13 Extended workshop as a gallery section by Rahat Kamal
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P143 BSc Architecture Unit H
P144 BSc Architecture Unit H
14 Early study of proposal elevation by George Moldovan 15 Redefining the landscape, elevation by Daryl Ignacio 16 Material experiment spatial collage by Dayanara Mabad 17 View of the incremental development of flexible studio space for makers by Daryl Ignacio 18 Prototype of self-self build housing model by Spencer Dela Cruz 19 Proposed section showing umbrella roof structure and the horizontal element in relation to the landscape by Dayanara Mabad 20 Proposed collective live and work space for Montemor-o-Novo Plan George Moldovan 21 Urban strategy exploring the new connection between the town and the landscape, Tashan Auguste 22 View of proposed kitchen garden community housing in relation to the landscape by Dayanara Mabad 23 Internal view of shared workspace in proposed co-housing by George Moldovan 24 View to the community hub and new cycle route by Tashan Auguste 25 Material experiment bamboo hempcrete canopy model collage by Tashan Auguste 14
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P145 BSc Architecture Unit H
P146 BSc Architecture Unit H
26 Former Blacksmith workshop, Print by Hanna Tweg 27 Experiment for In-situ hempcrete wall by Giannina Sedler 28 Compressed interlocking earth blocks, group work 29 Spillage of daily activities on the street by Hanna Tweg 30 Elevation of former blacksmith workshop, print by Adrian Moussaid 31 Exploded axonometric exploring the phasing and activities in proposed Community space by Hanna Tweg. 32 Testing the reflection onto the insertion of new timber frame structure into the cistern space, Model by Adrian Moussaid 33 View of the communal cistern to feed the water to communal kitchen gardens by Adrian Moussaid 34 Idea of incremental place making by Hanna Tweg 35 Material experiments collage by Adrian Moussaid
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P147 BSc Architecture Unit H
P148 BSc Architecture Unit H
36 Maker’s neighbourhood proposal for reinvigorating making culture of Montemor-o-Novo, communal garden and accommodation view by Giannina Sedler 37 Maker’s neighbourhood, Blacksmith workshop internal view by Giannina Sedler 38,39 Maker’s neighbourhood Plan and section by Giannina Sedler 40 Common ground, the project aimed at incrementally developing a community space based on local culture while keeping the intimacy and informality of the existing neighbourhood. View at night. By Hanna Tweg 41Common ground. living room extension to the street by Hanna Tweg 42,43 Common ground, proposed plan and section by Hanna Tweg
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P149 BSc Architecture Unit H
(ARB/RIBA Part 2)
P151  MArch Architecture
MArch Architecture
Unit 0
Meanwhile in Newham... WILF MEYNELL, SARAH BROADSTOCK, TOM BENNETT
We live in uncertain times. In a 1989 essay Fancis Fukuyama announced “the end of history” declaring the combination of democracy and capitalism to be the end-point of human ideological evolution - the struggle of ideas was dead and the future was sure. At least since the banking crisis of 2008, the neoliberal consensus lies in ruins. We know the system is broken, but for lack of alternative thinking, we continue to act out the empty rituals of market-based society. Inequality has reached record levels, we are witnessing again the ugly rise of ethnonationalism and infotech monopolies harnessing powerful algorithms have begun to subvert and undermine established democracies. At the same time the impact of human economies has begun to alter the environment on a massive scale, leading some to label the current geological epoch ‘the Anthropocene’. We face an ecological and climate crisis that many experts believe our civilization cannot survive. In summary, there is very little that we can predict with any certainty. We are not sure of what the climate will be like in 10 years time, let alone anything else. History, it seems, is far from over. There is a growing consensus that we need to find ways to repurpose the buildings that we already have. This imperative will only increase as we seek to decarbonise, resulting in an increasing proportion of the existing building stock becoming unfit for purpose without intervention and retrofit. Given the high degree of societal uncertainty and the fastening
NEWHAM, LONDON
pace of political, technological and environmental change, how can we ensure that our own architectural proposals will not quickly become obsolete? Unit 0 investigated the overlap of social and environmental issues in order to formulate adaptive architectural proposals. We are interested in the temporal nature of the built environment and changing patterns of use and occupation - cultivating a long term perspective on issues of embodied carbon, lifecycle and re-use. Drawing upon concepts such as the circular economy, commons ownership and meanwhile typologies, students developed architectural strategies that could benefit both the environment and local communities, while embodying a resilience towards the inherent uncertainties of the Anthropocene. Projects focused on a challenging disused depot site in East Ham, Newham, with council estates to the West and low-rise to the East. The unit looked to promote positive environments for a range of ages, ethnicities and skill sets hoping to bring the divided together, promoting skill sharing and celebrating diversity.
Special thanks to: Visiiting Critics; Yanni Pitsillides (Public Practice associate at LB Newham Council), Selasi Setufe (Public Practice, RIBA trustee and co-founder of Black Females in Architecture), Helen Evans (Public Practice associate at LB Newham Council), Olivia Page, Steph Chadwick (Studio Bark)
@Unitzero.uel [Instagram]
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P153 MArch Architecture Unit 0
Students Year 5; Chido Mutongwizo, Ezgi Guzeloglu, Moses Lutahakana, Nuriya Malik, Sadhana Kollu, Sahar Pathan, Sarah Serrano-Bello, Wadzanai Chanel Mhuka, Aaron Williams-Grant Year 4; Jun Yap, Nibedita Gautam, Paulius Vaizgenis, Ritchell Marcelline, Ronahi Kaplan, Tendai Simbo
P154 MArch Architecture Unit 0
1 Unit 0’s Project 0: ‘research, re-imagine, re-fabricate’ tutorial. 2 ‘Rewild East Ham’ by Nuriyah Malik. The project uses greening to counteract the effects of climate change and aid the mental and physical health of city residents. A safe outlet to bring together the diverse community of East Ham through nature. 3 In the UK, construction is responsible for up to 50% of carbon emissions so there is a need for change in the way we design. The ‘Well-being Studio Hub’ by Sahar Pathan is a self-build alternative therapy space, providing up-cycling workshops as a method of support. The project is a sensitive response to Newham having one of the highest concentrations of betting shops in the country.
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3 P155 MArch Architecture Unit 0
P156 MArch Architecture Unit 0
4 ‘B3Burgoyne’s Burbridge Bikes’ by Paulius Vaizgenis. 5 ‘P.O.I.N.T’ by Sarah Serrano-Bello. Seeking shelter or in danger at home? This project looks at youth homelessness and social recovery in the city. 6 ‘EAST TO EAT’ by Wadzanai Chanel. The community will grow, harvest and eat together, increasing the appreciation of one another, where their food comes from and what happens to it when it is not consumed. The project aims to challenge the amount of food waste and will be a place where the marginalised in the community come together in an open space that provides learning opportunities and creative freedom in growing, cooking and eating.
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P157 MArch Architecture Unit 0
7 ‘Burgoynes Glassworks’ by Jun Yap, explores the circular economy not only in terms of materiality but in the social sense, where the idea of circularity is relayed through the exchange of skills and knowledge. The building, consisting of exhibition, fabrication and research space, aims to develop local talents and provide job opportunities for people from all walks of life while promoting the concept of the circular economy, starting from the local community. 8 Concept drawing - the ‘Burgoynes Glassworks’ was inspired by Jun’s findings about the history of the building, and seeks to protect its industrial identity. 9 Section through the ‘Burgoynes Glassworks’ by Jun Yap 10 Photomerge of existing building facade, by Nuriyah Malik. Students were encouraged to calculate and consider the embodied energy of the existing building when developing their project strategies.
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P158 MArch Architecture Unit 0
How can we move from a linear material stream to a circular or even regenerative material culture? How could building processes empower communities to meet their evolving needs? Project 0 encouraged students to re-imagine a material from the site in a way that is suitable for the next economy. 11 Ritchell Marcelline, Project 0: the ‘Paper Wall’ is inspired by the ancient Wattle and Daub construction technique, using waste paper as part of a cyclical, biodegradable building method suitable for community construction projects. 12 Ronahi Kaplan, Project 0: ‘Low Carbon Bricks’ experimented with using unfired clay mixed with straw. The bricks are formed using a legostyle mould and slowly air dried. They slot together with no requirement for mortar. 13 Jun Yap, Project 0: By removing the bead from bicycle tyres the tyre can then be easily cut into smaller sheets. With bare hands, a drill, some screws and imagination, the rubber sheets can be deformed, twisted and pulled into interesting designs and creative patterns. 14 Unit 0 1:500 model
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of the site: an abandoned chemical works in East Ham, Newham. 15 25,000 people with dementia in the UK are from BAME communities. This number is expected to double by 2026 with the steepest increase expected in South Asian Communities. ‘Memory House’ by Nibedita Gautam is home for people with Alzheimer’s along with an educational as well social platform to educate caregivers on Alzheimer’s disease. 16 ‘Bio-City Community’ plan by Moses Lutahakana. The project’s mission is to educate young children on renewable energy created from food waste through the method of using an anaerobic digester. 17 Moses Lutahakana, ‘Bio-City Community’ section
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P159 MArch Architecture Unit 0
Unit 2
Urban Room Christoph Hadrys, Uwe Schmidt-Hess with Tony Fretton
MArch Unit 2 addresses urban and architectural conditions in locations undergoing critical change and over the years, has worked in North Africa, East London and other places in Europe. Through a combination of research and creative practice, we propose interventions, which respond to urban challenges and introduce elements of cultural and imaginative vigour. The Unit explores extremes of interrelated scales, from urban geographies through to building and detail qualities. In this process, strategies formulate responsiveness to global contexts, site conditions, understanding of scales, architectural sensibilities, as well as structural and material realities. We aim to create social, spatial and time-based habitats and environments. This academic year, our design research and projects focused on deprived neighbourhoods in central Athens, Greece. Within this location we explored the guiding theme Urban Room. The research area has a diverse urban history that ranges from ancient excavations, neo-classical courtyard houses and industrial buildings all the way to contemporary apartment buildings. Despite a rich local urban culture, the area fell into dereliction during the second half of the 20th century. In recent years, it has undergone substantial urban transformations with new constructions and an influx of people. In our work,
ATHENS, GREECE
we explored how public spaces and buildings can be Urban Rooms that facilitate this change and invigorate the city. We explored ways in which sharing and living together can be part of a synergetic urban life. To prepare the work in Athens, each student designed an Urban Room Prototype. We researched social narratives and architectural qualities. In Athens, each student chose a site, programme and scale for their main design project.
“Synoikismos connotes, in particular, the economic and ecological interdependencies and the creative - as well as occasionally destructive - synergies that arise from the purposeful clustering and collective cohabitation of people in space. In ancient Greece, synoikismos referred specifically to the union of several smaller urban settlements under a ‘capital’ city, thus implying a form of urban based governmentality as well as the idea of an urban system.“ Edward Soja, 2000
Y4: Joaquim Segunda Da Gama, Linda Ilonzo , Avnore Smakiq, Jeremy Tay Eujin, Effrosyni Valtdorou
Visiting Crits and Guests: Fatemeh Rostami (main guest), Panagiotis (Panos) Papanikolaou (AMC Athens), Andreas Kourterides (AMC Athens), Eugenia Provelengios and Michail Provelengios (Proplusma Architects Athens), Kingsley Kerson, Michael Eve, Lisa Ha, Filip Wojtasik, Alan Chandler, Aurore Julien, Wilf Meynell (Studio Bark) www.march-unit2.blogspot.com
MA A+U Urban Design: Oohitha Kokkula, Anika Tasfia Ahmed Kahn
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P161  MArch Architecture  Unit 2
Students: Y5: Ismaila Abubakar, Valeriya (Lera) Burmistrova, Larisa David, Nurina (Erin) Ghizan, Alexandra Goodey, Ewelina Krol, Eleftheria Lampropoulou, Lenny Lew, Christina Nika, Erdjan Ruci, Kunishige (Kuni) Shirai
P162 MArch Architecture Unit 2
1 On the previous page, map of Central Athens, showing different student sites and open space strategies 2 Urban Room Prototype, public laundry, Valeriya Burmistrova 3 Proposed ethical fashion centre, by Valeriya Burmistrova 4 Proposed dance school, by Ismaila Abubakar 5 to6 Proposal, house for women, by Christina Nika
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P163 MArch Architecture Unit 2
P164 MArch Architecture Unit 2
7 School for adult education and public space in dialogue with existing buildings, by Alexandra Goodey 8 Modular variations, earth prints for the Urban Room Prototype, by Alexandra Goodey 9 to11 Urban farm and gardens, self-built structure and public space, by Ewelina Kroll
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P165 MArch Architecture Unit 2
P166  MArch Architecture  Unit 2
12 to16 Proposed fruit and vegetable market in central Athens, comprising flexible market functions, public spaces, social facilities and farming, by Lenny Lew
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P167 MArch Architecture Unit 2
P168 MArch Architecture Unit 2
17 Urban network of participatory planning across Athens, by Eleftheria Lampropoulou 18 to21 Civic Town Hall for participatory planning, design, play and events, by Eleftheria Lampropoulou 22 Next page, Civic Town Hall space for democracy in the 21st century, by Eleftheria Lampropoulou
“A successful work of art is not one which resolves contradictions in a spurious harmony, but one which expresses the idea of harmony by embodying the contradictions, pure and uncompromised, in its innermost structure” Theodor Adorno
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P169 MArch Architecture Unit 2
P170 MArch Architecture Unit 2
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Unit 4
Digital by default, together by design FULVIO WIRZ, BARBARA ZANDAVALI
We now live in the most digitally connected age our society has ever experienced. Our addiction to digital communication can completely isolate people while opportunities for social interaction are progressively reducing. Can architecture become the meeting point? A bridge between advanced digital communication, entertainment and learning and this lost sense of community? How can we adapt our built environment in response to the digital progress making use of its benefits while preserving communities and physical interactions between individuals? Libraries, mediatheques, learning centres are quickly becoming outdated. Individual learning and communication experiences are substituting collective experiences making all of us digitally connected but physically segregated. Quality architectural spaces can act as a hub which uses digital media and new technologies as a gathering opportunity for communities. Shared virtual reality experiences, media communication or learning through gaming and simulation as well as giving space to new training opportunities in cutting edge technologies like coding or 3d printing are all activities which can contribute to rediscover the role of cultural buildings in the digital era moderating the role of digital media in our lives. Unit 4 focuses on the correlation between computational design and digital manufacturing processes where fabrication constraints and structural performance are integrated into our methodology since the initial concept. Advanced geometric
CLERKENWELL AND POPLAR, LONDON
principles are going to be introduced to develop spatial solutions where structural and material efficiency are conducing to a distinctive architectural aesthetic. Construction industry is witnessing an increased shift towards more effective production methods, already successfully adopted in other fields. Unit 4 seeks to embed these changes by encouraging students to develop a creative modular approach thus allowing a seamless integration of prefabrication and digital manufacturing within the design process. Unit 4 fosters a systemic design methodology where function, performance and space are all treated as interrelated subsystems of the building able to influence each other while following a cohesive set of rules. This year, our students proposed buildings to target digital loneliness issues in three sites in London located in Clerkenwell and Poplar. Their approaches explored subjects as the lack of languages skills, news ways of information consumption supported by cutting edge tools as virtual reality and digital fabrication as ways to enhance local users’ interactivity. The design proposals presented here are part of what we envisage for the construction field in the near future. By short, a sector that takes advantage of available technologies to overcome social and environmental issues.
Year 5; Jagjeet Kumar, Lahari Parvathaneni, Lokesh Emmidi.
Special thanks to: Visiting Critics: Joao Alves (Cundall ), Rasti Bartek (Cundall), Mattia Santi (Architectural Association), Francesca Silvi (Architectural Association), Davide del Giudice (Zaha Hadid Architects), Lorenzo Vianello (T&V Architects), Paola Tuosto(T&V Architects).
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P173  MArch Architecture  Unit 4
Students Year 4; Amin Esrafili, Lissette Shaw, Matteo Scarpellini, Metin Kocabey, Melis Cetin, Mouniratou Traore, Sanjay Venkata Krishnan,
P174 MArch Architecture Unit 4
1 Mediatheque external view integrating the new and the existing building, image by Jagjeet Kumar. 2 ‘Technical façade detail of a materials development research facility, drawings by Melis Cetin. The design uses concrete custom shapes fabricated using robotically cut moulds. 3 Technical three-dimensional detail illustrating the use of timber in the façade and structure, drawing by Jagjeet Kumar.
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P176 MArch Architecture Unit 4
4 Technical detail showing the façade and concrete component connections, drawing by Melis Cetin. 5 Three-dimensional section showing internal spaces for the Material Development and Research Building, drawing by Melis Cetin. The internal atrium integrates exhibition and working areas creating an articulated space for different users. 6 External view of the Material Development and Research Building showing the component application in the building façade, image by Melis Cetin.
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P177 MArch Architecture Unit 4
7 Mobile pavilion design using ruled surface components, images by Melis Cetin. These images illustrates the circulation and the atrium articulation with the exhibition spaces. 8 Fabrication scheme showing the mould fabrication using robotic wire-cutting techniques. After cutting the stryrofoam boards, the parts are assembled and concrete is casted inside, drawings by Melis Cetin. 9 Mobile pavilion internal view showing the atrium integration achieved using ruled surfaces, image by Melis Cetin. 10 Form generation, drawings by Melis Cetin. The pavilion shape aggregation uses operations as symmetry, scaling and rotation of one singular module.
Material Innovation Hub
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P178 MArch Architecture Unit 4
11 Ground floor plan showing the design’s reaction and integration to the site, drawing by Sanjay Venkata Krishnan. 12 Environmental strategies scheme by Sanjay Venkata Krishnan. The design takes advantage of the atrium and main circulation for ventilation and indirect light purposes. 13 Mediateque external perspective by Sanjay Venkata Krishnan. 14 Building façade, image by Matteo Scarpellini. The structural componentes are positioned based on radiation analysis to protect from overheating. 15 Internal view illustrating the integration of structural components in the atrium, image by Matteo Scarpellini. 16 Bookless library project external view, image by Mounira Traore. This project explores minimal surfaces shapes into its façade and structural system. 17 Mediateque programmatic distributions, drawing by Lissette Shaw.
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UNIT 4 Sanjay
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P179  MArch Architecture  Unit 4 14
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UNIT 4: Relation of programmes and the building
Unit 5
The Happy City
Carlo Cappia, Maria Alessandra Segantini
Contribute to C+S School Manifesto! Public space is being eroded on a daily basis all over the world. Given a lack of political will to tackle the issue, might architects play their part in rectifying it? Carlo Cappai and Maria Alessandra Segantini, co-founder of C+S Architects believe so and engage with the students of Unit 5 to test the power of design in tackling the urgencies of the contemporary in the social, environmental and economic spheres. They advocate designing buildings with a consideration of communal uses beyond those of the main brief. This, coupled with flexibility to endure changing occupation needs and sustainable construction technology to address low-carbon strategies, can make them an asset to communities for generations. Due to their monofunctional character and very specific programmes, safety regulations and compulsory uses, ‘public’ buildings such as schools, law courts and administration buildings are often less public than those that are privately owned. This commonly creates a misunderstanding about the potentials that could be generated inside them. By refusing to adopt a purely functional approach and working to hybridise their layout and spatial model, public buildings can not only fulfil the requested brief but also become rich opportunities to generate different scopes: a possibility which is crucial in a moment of economic and environmental crisis. The hybridisation of spaces can be turned into a long-term economic and human resource for individuals and
VENICE, ITALY
communities, incorporating new economic concepts that involve time and knowledge and not only GDP. The sustainable construction approach can contribute to reduce CO2 emissions. What is happening in the contemporary digital and multicultural world of networks? Could schools be reinvented as new hybrid tools shared by the communities around them? Could they be imagined as manifestoes to educate new generations in a more sustainable and economically fair perspective? Could they be reimagined as a network to reduce pollution, CO2 or fight inequalities? Considering their compulsory use, and their being part of an existing network where a multicultural experience happens naturally, schools are new powerful testers within cities. Working to enhance school buildings’potential, C+S Architects with Unit 5 will question school typologies and construction tools focusing to tectonics to reinvent schools as sustainable, welcoming and open public spaces. We are planting schools to grow a Happy City!
P181 MArch Architecture Unit 5
Students: Nurul ‘Aqilah binti Ali, Alessandro Antinucci, Ahmed Ashour, Sophia Capitao, Sadaf Fatima, Michael Kibalabala, Hilal Koztepe, Muhammad Waie Hazwan Bin Zainal Moin, , Raul Mormeneo, Marina Rossello, Lipika Roy, Nasar Ullah Sherbaz, Yozdzhan Terzi, Joshua YIm
Visiting Crits: Jo Berben, Eef Boeckx, Camillo Botticini, Matteo Capecci, Alice Cecchini, Roman Joliy, Alessandra Lione, Franco Tagliabue www.uel23ua.blogspot.co.uk
Muhammad Waie Hazwan Bin Zainal Moin 1 Section BB 2 Perspective view 3 Concept diagrams
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P182 MArch Architecture Unit 5
THE PERCEPTION PAVILION
Joshua Yim: 1 Concept diagrams 2 Perspective view Nurul ‘Aqilah binti Ali: 3 Concept diagrams 4 Perspective view Raul Mormeneo: 5 Perspective view 6 Plan Marina Rossello: 7 Concept diagrams 8 Masterplan
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P183 MArch Architecture Unit 5
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P184 MArch Architecture Unit 5
Sadaf Fatima: 1 Axonometry 2 Elevation 3 Axonometry, detail Lipika Roy: 4 Elevations Ahmed Ashour: 5 Section 1 6 Section 2 Alessandro Antinucci: 7 Masterplan
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COMMUNITY ACTIVITIES
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P186 P186 DEGREE MArch Y2&3 Architecture Unit 5 Unit 5
Michael Kibalabala: 1 Concept diagrams 2 Bird view Hilal Koztepe: 3 Concept models 4 Plan Nasar Ullah Sherbaz: 5 Model 6 Concept diagram 7 Perspective views Sophia Capitao: 8 Concept diagrams 9 Masterplan Yozdzhan Terzi: 10 Axonometry 11 Elevations details
Volume 12 x 12 x 20m
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Structure
Access and Circulat
Volume 12 x 12 x 20m
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Access and Circulat
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Volume 12 x 12 x 20m
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Access and Circulation
Structure
Roof Structure
The structure containing and supporting the spaces suspended from the roof allowing an RSHQ JURXQG ÀRRU The structure containing and supporting the spaces suspended from the roof allowing an RSHQ JURXQG ÀRRU
STRUCTURE DEVELOPEMENT Pavilion
STRUCTURE DEVELOPEMENT
The structure containing and supporting the spaces suspended from the roof allowing an RSHQ JURXQG ÀRRU
Pavilion
STRUCTURE DEVELOPEMENT Pavilion
Architectural Design Portfolio By Hilal Koztepe Yr 4 Unit 5
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Final Model Photographs of Pavilion Excercise
Final Design Proposal of Pavilion roof and structure 352'8&(' %< $1 $872'(6. 678'(17 9(56,21
352'8&(' %< $1 $872'(6. 678'(17 9(56,21
Plans of the structural roof with Axonometric diagrams exinterior spaces of the Pavilion.
352'8&(' %< $1 $872'(6. 678'(17 9(56,21
352'8&(' %< $1 $872'(6. 678'(17 9(56,21
plaining how the structure is formed with a model showing
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352'8&(' %< $1 $872'(6. 678'(17 9(56,21
352'8&(' %< $1 $872'(6. 678'(17 9(56,21
First plan of the 12m to 20m Spacial layout.
Second plan of the structural bends of the roof to measure.
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Third plan of where the beams would be located.
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CONCEPTUAL DIAGRAM
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8 MASTERPLAN
ONLY SPACES AND WALLS VISIBLE PERMEABILTY
PERMEABILTY MAIN FRAME OF THE BUILDING FOR EACH FLOOR WHICH ARE CREATED WITH CONCRETE STRUCTURAL ELEMENTS; PILLARS, SOLID WALLS, CONCRETE SLABS. ALSO THE RAMMED EARTH PART AS THE SECOND MAIN STRUCTURAL ELEMENT ON THE DESIGN.
GROUND FLOOR & RAMMED EARTH PART
ADDING FRAME AND WINDOWS TO THE FACADE AS A WHOLE ONE PIECE
FIRST FLOOR & NURSERY SCHOOL ROOF SLAB
ADDING SUNSHADING ELEMENTS WHICH THEY ARE ALSO MOVEABLE AND CREATES DIFFERENT VARIATIONS ON THE FACADE
PRIMARY & SECONDARY SCHOOL ROOF SLAB
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P187 P187 DEGREE MArch Y2&3 Architecture Unit 5 Unit 5
5
Unit 6
Just Do It
Isaie Bloch, Jakub Klaska
Education together with housing costs have become the most substantial items familiesâ&#x20AC;&#x2122; budget face within their lifetime. Families relate their planning to the cost of education, its duration and location in the ultimate belief that education brings about change. The growing complexity and sophistication of our civilization presents new challenges to our educational system. Do we as educational institutions cater solely for the needs of our past and current industries and/or do we educate pupils and students in order to take greater authorship and disrupt current direction of travel? Educational typologies have slowly become one of the most overlooked and obsolete typologies in our profession. Due to the increasing inability of the public sector to fund any substantial progress in this field, education is currently occurring in uninformed generic structures developed to cater for an industrial society. Considering the already established shift towards a post-industrial society (the post-industrial society is the stage of society when the service sector generates more wealth than the manufacturing sector of the economy) we believe architects should investigate the implications on the educational typology especially in the light of the manufacturing sector being on the brink of full automation. LONDON, UNITED KINGDOM
We will aim to prove that architecture can affect the learning process at the deepest level. This ultimate belief will fuel our investigation on educational typologies. Our spatial explorations will account for diversity of human characters and the inherent curiosity human beings possess. Catering for complex problem solving, emotional intelligence, creativity, critical thinking, judgement and decision making over STEM (Science, Technology, Engineering, Mathematics) oriented learning. Much like the learning process we will aim to comprehend, learn and author the art of construction. More specifically looking into timber construction and its by-products. Our design process will take a deep interest in the art of construction and direct application of learnt principles back into design. Such approach leads to full authorship at the deepest level and gives us total control over the architectural proposition. This opens a great opportunity to contribute to more sustainable futures both politically, environmentally, socially and economically. In order to develop architecture of considered expression we will employ design strategies that synthetize the inner logics of how to deal with material and construction processes as to produce comprehensive architectural propositions.
Visiting Crits: Teoman Ayas, Carl G Callaghan, Martin Gsandtner, Armor Gutierres, Christoph Hadrys, Filippo Nassetti, Fulvio Wirz, Chiara Zaccagnini, Barbara Zandavali
Y4: Joshua Anderson, Alexandra Jones, Hsien Jing Lee, Stefi Papachristou, Chetan Patel, Diana Rupinska, Habib Sahel Unit 6 argues for an architectural ontology based on sharpening the tension between architecture and its parts. Investigating the production of space trough tectonic studies. Increased computational capabilities enable us to push our understanding of architecture as a relationship of objects into an unexpected new domain of complex and well crafted spaces.
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P189â&#x20AC;&#x192; MArch Architectureâ&#x20AC;&#x192; Unit 6
Students: Y5: Sabrina Azman, Punit Babu, Eugene Goh, Paul Joseph, Anjum Khan, Paul Marshal, Nadhira Patel, Amirah Suhaimy, Haakon Askim Vatne
P190â&#x20AC;&#x192; MArch Architectureâ&#x20AC;&#x192; Unit 6
During the first term, students will focus on the topological organisation of surfaces following four given Design strategies. These spatial models are intended to develop unique spatial qualities on architectural macro scale following the original qualities of the precedents, which later on will be addressed in terms of structural and tectonic behaviour on meso scale. The given case studies consist of multiple categories and design strategies. Such as: Grid shells 2, Spatial wood Joinery13,17, Articulated surfaces and Differentiated sections 1, 11, 16, 3, 10, 12, 14, 15. Student work by: Punit Babu, Sabrina Azman, Paul Joseph, Haakon Vatne, Joshua Paul Anderson, Amirah Suhaimy, Paul Marshall, Nadhira Patel. This initial exercise will simultaniously increase both modelling skills, spatial skills and design skills. Successfull iterations will always include the core qualities of the initial reference, human scale, semi-enclosure, circulation, directionality, etc.
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Following this first plastic exercise, students are asked to physically build their proposals on 1/10 or 1/5 scale in groups of 3 to 5 students 7-8. By doing so students will be able to come up with a more in depth catalogue of operations, spatial conditions and building methods which will later allow them to iterate those further into complex yet feasible architectural proposals. The groups are ran as micro offices within the Unit structure as to increase group dynamics and productivity. 5-8 Chunk model , exploring iterative spatial agregations. All members have to be solely designed out of engineered timber with a minimum of steel connections and all have to be planar. Thus providing a cheap production process and rapid deployment on site.
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P191 MArch Architecture Unit 6
P192â&#x20AC;&#x192; MArch Architectureâ&#x20AC;&#x192; Unit 6
9 Anjum Khan. This project encourages the childs innate need to learn through play. By reconnecting them to nature and providing a physically engaging environment to be educated in. Allowing them to be children at the right time in life and giving them the opportunity to experience a deeper level of learning, which is multi-dimensional and tactile. 10 Joshua Paul Anderson. The stacked and layered sheets of engineered timber simultaniously act as structure as well as solar shading. The structure inherently defines the built form and as such produces a fully integrated design approach. 11, 16 Paul Joseph. This ecologically conscious design of a school for human skills in the age of automation, is a school for fabrication and wood-working. The proposal is predominantly designed using timber and has an emphasis on the management of timberwaste that is generated from the construction and use of the building, essential in creating a circulareconomy.
12 Amirah Suhaimy. The garden plays a crucial role in everyday life and has a significant impact on our physical health and mental wellbeing, especially with young children. This timber project increases the exposure young students have with their natural environment in Londonâ&#x20AC;&#x2122;s dense urban tissue. The program also encourages healthier lifestyles through increased physical activities designed into the layout of the building. 13, 17 Sabrina Azman. In order to break the prejudice against vocational education, this project not only provides equal exposure between general and vocational education but also encourages learning through making. This project uses timber as the building material due to its benefits to a more sustainable future. It has less or no waste on site as it is a dry process and is arguably the material of the future. Due to its urban setting, prefabrication construction is ideal due to low noise pollution and a faster construction process. 14 Paul Marshall. 15 Nadhira Patel.
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P193 MArch Architecture Unit 6
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P194 MArch Architecture Unit 6
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P195 MArch Architecture Unit 6
Unit 8
Skopje: Whatâ&#x20AC;&#x2122;s next?
Armor Gutierrez Rivas, Rosa Rogina
Unit 8 perceives architecture as a social and political practice, and therefore promotes mobilisation of architectural thinking and making as a tool to engage with current matters of concern, both local and global. It explores how can architectural design process be expanded beyond its conventional role and be utilised as a tool for a wider social, economic and cultural change. The unit looks more closely into territories of spatial and/or social tension and attempts to unpack and address these complex contemporary conditions. By balancing in between identified real-world context and radical imagination, the students in Unit 8 are encouraged to use the identified tension as a main driver for their design proposal. This year students in Unit 8 are investigating a new typology of youth club for Skopje, North Macedonia, that examines the role of the youth in modern public life and its potential to challenge some of the current local and/or global matters of concern. By designing schemes that promote sustainable ways of building and living, students in unit 8 are asked to explore what architecture for and by a new generation can be, who Skopje is for and what its future hold. Skopje is a city of many spatial, social, political and environmental paradoxes. While immensely suffering from the collapse of Yugoslavia, public sector corruption, highest pollution levels amongst European capitals cities and high unemployment rates, the city is currently experiencing a high peak of the government-funded construction boom resulting
SKOPJE, NORTH MACEDONIA
in an overflow of neo-classical and neo-baroque large statues, fountains, decorative bridges and false facades. Failures in modern politics that are being directly transmitted through architecture alien to local culture, people and their socio-economic status, have led local people to be increasingly detached from their urban surroundings. If the challenges that Skopje poses to future generations are directly impacted by the entanglement of local politics and built environment, can the local youth instead of surrendering to the overall feeling of disillusion use architecture as driver for a social, political and environmental change? By learning from and building upon the social model of a Yugoslavian youth club, unit 8 critically investigates and proposes a new institutional typology for Macedonian youth. While designing spaces for debate, collaboration and collective management of shared resources, students in unit 8 are actively encouraged to explore the local vernacular in terms of typology, construction methodology and materiality. By using architecture as a form of resistance, this yearâ&#x20AC;&#x2122;s projects will serve as a testing ground for the local youth to define how does a more democratic and sustainable future for Skopje look like.
@unit8.uel [Instagram]
Special thanks to: Visiting Critics; Leithan Brimah (Bell Phillips Architects), Carsten Jungfer (UEL Unit A), Sam McDermott (Karakusevic Carson Architects), Clare Richards (ft’work), Sofia de los Rios (COS), Adelina Koleva, Vlado Deskov (University American College Skopje), Maksim Naumovski (University American College Skopje), Harald Trapp.
P197 MArch Architecture Unit 8
Students Year 4; Nur Azzahra Mohamad Adzlee, Lum Si Chu, Jhenae Fullerton, Chun-Li Reid, Chutimon Suetragulwong, Natdanai Wareerinsiri, Siew Horng Brian Wong Year 5; Nik Afiq Amadi, Giorgos Andreou, Guillermo Cano, Nik Hazrul Haiqal, Dominique James, Mix Xu Lee
P198â&#x20AC;&#x192; MArch Architectureâ&#x20AC;&#x192; Unit 8
1 Visual of the proposed regeneration of Skopje train station with abandoned tracks transformed into an elevated urban park 2 Technical and environmental section highlighting the bio-gas and air filtering improvements to existing towers 3 Step by step diagrams of the project phasing and material sourcing linked to existing industries and infrastructures across the country. 4 Axo view of the overall intervention and the proposed impact to the urban surroundings. Project and drawings by Natdanai Wareerinsiri.
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P199 MArch Architecture Unit 8
P200â&#x20AC;&#x192; MArch Architectureâ&#x20AC;&#x192; Unit 8
5 Physical sectional model of one tower and facade prototype testing made out of recycled textiles 6 River elevation with the proposed Weaving the Future youth club in its urban context 7 Main access plan showing connectivity across levels 8 Transformation of the tower greenhouse during the year and air filtering pollution plants give away scheme 9 Interior visual of the screen printing and textile making workshop 10 Interior visual of the vertical playground tower 11 Welcoming view at river level with the air filters facing south. Project and drawings by Nur Azzahra Mohamad Adzlee.
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P201 MArch Architecture Unit 8
P202 MArch Architecture Unit 8
12 Detailed design of the air purifying brick and filter. Each brick works as a cyclone PM collector which will force the particles and dust to be pushed down and be collected at the bottom of each floor’s wall. 13 View of the internal courtyard showing different activity. 14 View of the building from across the river. Project and drawings by Giorgos Andreou.
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P203â&#x20AC;&#x192; MArch Architectureâ&#x20AC;&#x192; Unit 8
15 Aerial view of the masterplan including Youth Centre and rentable mixed use units, recreation ground and cafe extension. 16, 17 Exterior views of the youth centre facilities. Project and drawings by Dominique James. 18, 19, 20 To reactivate the Vardar River while providing a natural lung to help dealing with the existing pollution levels in the city, the main intervention offers strong links between street and river level while providing different activities alongside the riverfront. Project and drawings by Guillermo Cano.
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P204 MArch Architecture Unit 8
21 Aerial view of the proposed youth centre that is part of a wider urban strategiy to provide protection against flooding. 22 Aeiral view of the building showing its interaction with the river and its chaging water levels. 23 Section study comparing current and proposed river levels. Project and drawings by Nik Hazrul Haiqal. 24 ‘Breathe’ is a proposal for a youth club that provides users with an understanding about the long-term effects of poor air quality and teach about sustainability and having an ecological attitude toward the future as well as taking practical steps in improving air quality. Project and drawing by Jhenae Fullerton. 25 ‘Y.C.T.C’ promotes social engagement between traditional craftsmen’s and the youth, offering the opportunity to gain a quality of learning through a non-traditional form. Locally produced ecooling ceramic
tiles help with cooling hot air to cool the interior spaces as well as decreasing the amount of direct sunlight entering the building. Project and drawing by Chun-Li Reid. 26 To tackle poverty and food waste issues in the Old Bazaar, the proposal merges a youth club and a foodbank collecting, reusing and composting daily food scraps from nearby restaurants. Project and drawing by Brian Wong. 27 ’Waste to best’ is an educational youth centre facility with a waste trading platform and workshop. The project aims to promote active recycling, through which people can transform plastic waste into building material such as brick, tiles or even insulation, Project and drawing by Chutimon Suetragulwong.
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P205 MArch Architecture Unit 8
BSc (Hons) Architectural Design Technology LEVELS 1, 2 & 3
Dr Arman Hashemi & Dr Heba Elsharkawy, Programme Leaders
P207â&#x20AC;&#x192; BSc ADT
BSc (Hons) Architectural Design Technology (ADT) programme has gone through some exciting and yet challenging times this year. With the closure of the university campus in March 2020, due to the Covid-19 pandemic, the ADT team worked swiftly to move to online teaching and tutorials. Many students found the online teaching an existing and flexible approach and achieved high quality works. We are indeed proud of our studentsâ&#x20AC;&#x2122; achievements in such challenging times. We have been very keen on developing the subject specific knowledge and employability skills to support our students who aspire for a rewarding career in this field. The students have had an all-round experience from working on their design projects in studio, to field trips to major developments under construction in London. This year, we also organised a study trip to the UAE. The trip was an eye-opening experience to the students as it facilitated visits to many significant projects including The Harbour View, Opera House and Burj Khalifa in Dubai; and Masdar City, Sheikh Zayed Mosque and Louvre Museum in Abu Dhabi. We keep working closely with the industry and the Chartered Institute of Architectural Technologists
(CIAT) to improve the quality of our course and provide employment opportunities to our students. Indeed, last year we achieved a 100% employability rate for our students and were also ranked the 1st in London for Student Satisfaction according to the Complete University Guide. Moreover, every year, our outstanding students receive awards and medals from our main accreditation body CIAT. This year we also initiated the T-Coffee social events where ADT students can regularly meet with their peers and tutors outside the classroom, develop their networks, and listen to short presentation and interviews with professionals in the industry. We continue working with the accreditation bodies and the industry as well as with our students and alumni to continuously improve the quality of the ADT course. The ADT yearbook section is organised into two sections; Technical Studies and Representation (years 1, 2 and 3), followed by Architectural Design Resolution (years 2 and 3). Dr Arman Hashemi (BSc, MSc, PhD, FHEA, MCMI, ACIAT)
A+D Technology Technical Studies and Representation
ALFONSO SENATORE, ARMAN HASHEMI, NIALL HEALY, SHAHROKH ZANDI
In Year 1 ADT, we worked on a small-scale building design exploring the associated main architectural technologies along with environmental design principles, their application and the principal technical issues. We developed practical experience, technical and computer-aided skills and produced a set of CAD drawings (plans, cross section, elevations) at 1:100 scale followed by a series of fully annotated technical details at 1:10 scale related to small-scale masonry building. During Term 1, in Year 2 ADT, we explored masonry and timber frame building techniques, building physics, environmental design, building cladding systems, structure and construction detailing, We critically analyse an existing housing development located in The Netherlands, designed by renowned architecture firm MVRDV. The investigation of the architectural precedent aimed to develop our technical understanding of a small residential structure, building materials, construction processes, sustainability and technical details. In Year 3 ADT, we analysed 4 iconic buildings such as Paxton’s Crystal Palace, Grimshaw’s Financial Times PrintWorks, Rogers Stirk Harbour + Partners’ Madrid-Barajas Airport Terminal 4, and RPBW’s The Shard, with particular focus on the architectural technology related aspects. This exercise offered the opportunity to further strengthen our knowledge on complex structural systems, construction process, building facades systems.
LONDON, DUBAI
During Term 2, in Year 2 and 3 ADT, we produced a comprehensive building study aimed at setting up structural, material and façade conceptual strategies, as well as environmental and sustainability strategy for our Final Design Project for the Silvertown Regeneration Royal Docks, in London, which was developed within the Architectural Design module. A complete set of technical drawings, including fully annotated construction drawings at 1:10 scale were produced as part of the TS building report. As part of our technical investigations, we were also required to demonstrate compliance of our design proposal with relevant UK Building Regulations. The latter gave us the opportunity to gather an in-depth understanding and knowledge of current regulations.
Special thanks to: Contributors and guests: Carlos Solé Bravo (Fosters and Partners); Luciano di Domenico (AECOM), Arup, Healy Cornelius Design, Rosa Sannia (Ongreening.com), Mandy-Liza Lehnert, Ainsley Walters (Bond Bryan Ltd), Leanne Earle, Fitzroy Andrew, Pinar Kayacan Aksu, Carl Callaghan.
Year 2; Mohamed Ahmed, Nnamdi Ajaelu, Danielle Billett, Abdoul Wahab Dabare, Ionela Daniela Dragu, James Harris, Serge Ilunga, Sosan Khalid, Charlie Markley, Mathulan Paramanadan, Mishal Pussewela, Marius Rotaru, Ouninioluwa Majemuoluwa Rotimi, Iqraa Shahbaz, Joel Shroader, Thomas Stewart Stroud, Markuss Klavs Sunins, Gergely Toth, Louisa Amelia Tulloch, Michael Steven Valencia Imbaquingo, Gloria Yeboah
@ADT_UEL [Twitter] bit.ly/AD-Yearbook-BSc-ADT
Year 1; Abdul Yusuf, Abdulia Suffian Bangura, Abir Choudhury, Aftab Khoodabuk, Andreea Burducea, Asad Mohamed, Aurelie Botoyi, Benyamin Chaharsoton, Carmel Caparas, Daniel Harvey, Danny Tran, Hala Mohamed Ahmed Elenany, Harry O’Connor, Ioana Predescu, Jake Dacosta Augustin, James Landen, Jocille Bonsu-Ofori, Johnverlou Bergonia, Jydsen Zchrlyn Ombao, Kim Sovanrattanak, Martine Ofotu Amaah, Presley Okundaye, Ronica Shongwe Nonkululeko,Winta Kahsai, Zain Ul-Abidin-Sajjad.
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P209 BSc ADT
Students Year 3; Rebecca Adeboye, Tala Aflatouni, Salem Almutairi, Michael Aregbesola, Jonny Chapi Enriquez, Noela Dalipi, Simren Kaur Dosanjh, Oliver Egerton-Smith, George Fahmi, Giulia Ficini, Rokhiya Fofana Tounkara, Adit Jaganathan, Connor Minihane, Victor Marino Naranjo Cardenas, Oussama Nefzi, Chinedu Charles Okerezi, Jawad Serroukh, Shahid Kalim Siddique
P210 BSc ADT
1 Year 3; Silvertown Regeneration Waterfront Leisure Centre, Threedimensional cut-away technical drawing, by George Fahmi. 2 Year 3; construction detail drawings 1:10 and computer visualisations of the final design proposal for the Silvertown Regeneration Royal Docks, by Giulia Ficini. 3 Year 1; Design Proposal, CAD drawings, by Ioana Predescu.
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3 P211â&#x20AC;&#x192; BSc ADT
P212 BSc ADT
Year 2; Silvertown Regeneration Project proposal by Gergely Toth: 4 typical residential floor 5 construction detail drawings 1:10 of the proposed crosslaminated timber building 6 and computer visualisation of the final design..
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P213 BSc ADT
Year 3; Silvertown Regeneration Waterfront Leisure Centre design proposal, by Jawad Serroukh; 7 computer visualisation 8, 9 sketches/structural studies 10 conceptual structural proposal for the sports hall.
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P214 BSc ADT
Year 1; Small-scale building design proposal, by Ioana Predescu 11, 12 Solar studies of the site located within the UEL Campus; 13 three-dimensional cut-away technical drawing.
Year 3; Silvertown Regeneration Waterfront Leisure Centre design proposal, by Jonny Chapi Enriquez. 18 Computer visualisation of the final design; 19 Construction detail drawings 1:10 of the proposed crosslaminated timber building; 20 Three-dimensional cut-away technical drawing of the green roof.
Year 2; MVRDV’s housing development in The Netherlands: technical investigation by Ionela Dragu. 14 One of the dwelling in Ypenburg, The Hague (case study) 16 construction detail drawings 1:10. Year 3; Rogers Stirk Harbour + Partners’ Madrid-Barajas Airport Terminal 4: technical investigation by Giulia Ficini. 15 Architectural elevation of the airport terminal building. 17 Three-dimensional cut-away technical drawing exploring the building structural system.
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Year 3; Silvertown Regeneration Waterfront Leisure Centre design proposal, by George Fahmi; 21 Construction detail drawings 1:10 of the proposed steel frame building complete with timber cladding
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P215â&#x20AC;&#x192; BSc ADT
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P216â&#x20AC;&#x192; BSc ADT
21 P217â&#x20AC;&#x192; BSc ADT
P218 BSc ADT
22, 23 Year 1; Small-scale building design proposal by Andreea Diana Burducea. 24 Year 1; Small-scale building design proposal by Ioana Predescu, site-wide investigations. Year 3; Silvertown Regeneration Waterfront Leisure Centre design proposal, by Oussama Nefzi. 26 Solar investigations and shading system proposal; 27 Construction detail drawings 1:10 of the proposed crosslaminated timber building. Year 3; Silvertown Regeneration Waterfront Leisure Centre design proposal, by Oliver Egerton-Smith. 25 Computer visualisation of the final design. 28 Technical investigations of the RPBW’s The Shard by Oliver Egerton-Smith, 1:10 detail cross-section through the offices.
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P219â&#x20AC;&#x192; BSc ADT
A+D Technology Architectural Design Resolution
DR. HEBA ELSHARKAWY, DR. HAITHAM FAROUK
In Year 2 and 3 ADT, we worked closely with Newham Council as a client, on a live project; Silvertown Regeneration Royal Docks, London, consisting of a waterfront café and 24 one-bedroom and twobedroom flats (year 2) Leisure Centre, and a waterfront café (year 3). We undertook site surveys, case study research, climate and site analysis and capacity studies to understand how the design could provide the facilities needed within the design brief. Within our technical design proposals, we tackled key strategic questions; what could be the most effective building form and fabric for the chosen site (environmentally and economically)? What are the priorities for building users’ health, comfort and wellbeing? How can the design comply with the Building Regulations? Silvertown is at the heart of the regeneration of the Royal Docks and will deliver a new, mixed-use neighbourhood including homes, offices and jobs alongside retail, leisure, brand, community and cultural uses. Silvertown development (estimated value of £3.5 billion) aims to provide commercial space (shops, restaurants, cafes) as well as bolster the capital’s affordable housing stock. The overarching objective is to support Silvertown in achieving sustainable economic growth, vibrant communities, and a healthy environment for healthy people.
LONDON, DUBAI
We had two great events to help us learn more about the Chartered Institute of Architectural Technologists (CIAT) and our profession. The first event was a CIAT-RIBA joint event organised to get us and students studying architecture to learn more about future careers in both disciplines. Twelve RIBA and CIAT professionals talked to us about their personal learning journey and work experience starting from architectural assistant position to directors. The second event was an alumni event where two 2019 BSc ADT graduates working as full-time architectural technologists at Bond Bryan visited us. We had the opportunity to host lead architects from practises as AHMM, RCKa studios where we learned about several of their major design projects and gained insight into leisure centre design.
Year 2; Mohamed Ahmed, Nnamdi Ajaelu, Danielle Billett, Abdoul Wahab Dabare, Ionela Daniela Dragu, James Harris, Serge Ilunga, Sosan Khalid, Charlie Markley, Mathulan Paramanadan, Mishal Pussewela, Marius Rotaru, Ouninioluwa Majemuoluwa Rotimi, Iqraa Shahbaz, Joel Shroader, Thomas Stewart Stroud, Markuss Klavs Sunins, Gergely Toth, Louisa Amelia Tulloch, Michael Steven Valencia Imbaquingo, Gloria Yeboah
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Special thanks to: Alan Beveridge (RCKa), Tahera Rouf (RCKa), Calum Shields, MandyLiza Lehnert, Ainsley Walters (Bond Bryan Ltd) Special thanks to Mr. Alfonso Senatore, and Mr. Niall Healy Technical Studies Tutors) https://www.uel.ac.uk/undergraduate/courses/bsc-honsarchitectural-design-technology
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P221â&#x20AC;&#x192; BSc ADT
Students Year 3; Rebecca Adeboye, Tala Aflatouni, Salem Almutairi, Michael Aregbesola, Jonny Chapi Enriquez, Noela Dalipi, Simren Kaur Dosanjh, Oliver Egerton-Smith, George Fahmi, Giulia Ficini, Rokhiya Fofana Tounkara, Adit Jaganathan, Connor Minihane, Victor Marino Naranjo Cardenas, Oussama Nefzi, Chinedu Charles Okerezi, Jawad Serroukh, Shahid Kalim Siddique
P222 BSc ADT
Waterfront Silvertown Leisure Centre design scheme 01 by Giulia Ficini 02 by Jawad Serroukh 03 by Oliver Egerton-Smith 04 by Oussama Nefzi. Year 2; Silvertown Regeneration 05 Interior perspective, James Harris 06 Exterior view Gergely Toth 07 View of Atrium looking Up, Gergely Toth 08 Ground floor plan (construction drawing), Gergely Toth 09 & 10 Capacity studies, Thomas Stroud 11 Exterior perspective, Danielle Billett 12 Typical floor plan, Mohamed Ahmed 13 & 14 Exterior perspective, James Harris
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P224 BSc ADT
Year 3; Silvertown Regeneration: Waterfront Leisure Centre, designed by Giulia Ficini 15 Interior perspective of climbing wall 16 Ground floor plan 17 Exterior perspective 18 North Elevation 19 South Elevation
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P225â&#x20AC;&#x192; BSc ADT
P226 BSc ADT
Year 3; Silvertown Regeneration: Waterfront Leisure Centre, 20 Interior shot of the entrance, Giulia Ficini 21 Interior view of Sports Hall, Giulia Ficini 22 Exterior view of the project, Giulia Ficini 23 Section through the entrance, Giulia Ficini 24 Section through the Sports Hall, Giulia Ficini 25 Exterior shot, Jawad Serroukh 26 Capacity studies, Jawad Serroukh 27 Capacity studies, Giulia Ficini 28 Section through the entrance, Jawad Serroukh
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P227â&#x20AC;&#x192; BSc ADT
P228 BSc ADT
Year 3; Silvertown Regeneration: Waterfront Leisure Centre 29 Exterior shot highlighting the public realm, Jawad Serroukh 30 Interior view of the entrance, Jawad Serroukh 31 Ground floor plan (construction drawing), Jawad Serroukh 32 Interior shot of the waiting lobby, Jawad Serroukh 33 Interior view of the Sports Hall, Jawad Serroukh 34 Exterior shot, Michael Aregbesola 35 Exterior view highlighting the threshold between the building and the landscape, Jawad Serroukh 36 Section through the Sports Hal, Jawad Serroukh 37 South Elevation, Jawad Serroukh
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P230 BSc ADT
Year 3; Silvertown Regeneration: Waterfront Leisure Centre 38 Exterior view of the project, George Fahmi 39 Interior shot of the entrance lobby, George Fahmi 40 Ground floor plan (construction drawing), George Fahmi 41 Section through the Sports Hall, George Fahmi 42 Section through the entrance, George Fahmi 43 Exterior shot, Victor Marino Naranjo Cardenas 44 Interior shot of the Leisure centre entrance lobby, Victor Marino Naranjo Cardenas 45 Capacity studies, Victor Marino Naranjo Cardenas
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P231â&#x20AC;&#x192; BSc ADT
P232 BSc ADT
Year 3; Silvertown Regeneration: Waterfront Leisure Centre, Oliver EgertonSmith; 46 Exterior view of the project 47 Outdoor sports facilities (climbing wall, Table tennis) 48 Section through the entrance and the Gym 49 Exterior shot highlighting the threshold between the building and the landscape 50 Interior shot of the Cafe 51 Section through the Sports Hall 52 Ground floor plan, Oliver Egerton-Smith 53 Climate analysis summer solstice, George Fahmi 54 Climate analysis spring equinox, George Fahmi 55 & 56 Site Analysis, Jonny Chapi Enriquez
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P233â&#x20AC;&#x192; BSc ADT
P234 BSc ADT
Year 3; Silvertown Regeneration: Waterfront Leisure Centre, 57 Exterior view of the project, Connor Minihane 58 Interior view of the Sports Hall, Jonny Chapi Enriquez 59 Ground floor plan (construction drawing), Connor Minihane 60 Exterior view, Jonny Chapi Enriquez 61 Interior shot of the Leisure centre entrance lobby and double height gallery, Jonny Chapi Enriquez 62 Section perspective through the Sports Hall Jonny Chapi Enriquez 63 Ground floor plan (construction drawing), Jonny Chapi Enriquez
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P236 BSc ADT
Year 3; Silvertown Regeneration: Waterfront Leisure Centre, 64 & 65 Exterior view of the entrance, and bird’s eye view of the Leisure centre, Oussama Nefzi 66 Section through the sports hall and the gym, Oussama Nefzi 67 South elevation, Oussama Nefzi 68 Exterior shot of the entrance, Shahid Kalim Siddique 69 Interior shot of the Leisure centre entrance lobby and double height gallery, Shahid Siddique 70 Ground floor plan, Shahid Siddique 71 Exterior view of the entrance, Tala Aflatouni 72 bird’s eye view of the Leisure centre, Michael Aregbesola
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P237â&#x20AC;&#x192; BSc ADT
BA (Hons) Interior Design Dr Keith Winter Programme Leader
Year 01: ‘Exercises in Style’, ‘Dream Bedroom’, ‘Dream Detail’, ‘PR Machine’, ‘Open for Business’ Year 02: ‘Model Citizens, ‘My Own Private Utopia (for you too)’, ‘PR Machine’, ‘Take me to the Nail Bar, Nail Bar’ Year 03: ‘Model Citizens’, ‘My Own Private Utopia (for you too)’, ‘PR Machine’, ‘Eco-House (live project with FNFC Architects Ltd)’ 2019-20 was a year of development for ID BA where we were joined by Susan Ginsburgh, an experienced new head tutor for Year 01. This brought a rigour to Year 01’s development supported by the rest of the design team. Recent graduate Nayden Hadzhiev also joined our team and led the computing side of the course bringing a fresh approach to computer rendering that allowed students to fully realise their design proposals using real-time software such as Twin-motion and Lumion. Stratford-based designer Pol Gallagher, director of ZAP Architecture also added an experienced dimension to the teaching team in Term 2, with a flare for hand-drawing and creative technical solutions to projects. For our student cohort it was a year for upskilling and strengthening ability. Fresh into first year entered a competitive student group who quickly became fluent in drawing skills through experimentation, repetition and structured hand-drawing workshops. A highlight was the ‘Dream Detail’ project where groups of students were tasked with building a modular shelving system where they inserted a 1:1 corner representation of their design using tessellation patterns cast in plaster for the floor and photo-transfer tessellation designs for the two connected wall surfaces. In Year 02 + 03, Term 01 was focussed on the Barbican estate. The Blast Brief ‘Model Citizens’ was an exercise in understanding Bunyan Court flat types and making 1:20 models of these with a touch of redesign. We were lucky enough to visit Adam and Eva and their family flat in type M3D, a triplex at the top of the block, to survey and measure up the proportions of the spaces and photograph the materiality. The resulting models were a joy to critique and explore with guest critics. ‘My Own Private Utopia (for you too)’ was a brief concerned with designing a micro-gallery situated in one of three sites chosen at the Barbican Estate. For year 02 this was a project to consider how inside space relates to outside space and how to create a small micro-architectural social hub. All of these projects set the challenge to understand level changes through staircase design using physical model-making as well as 2D drawing and 3D modelling.
We carried out field trips both abroad and locally with half the cohort visiting Athens and exploring everything from antiquity to contemporary design. While at home we visited the Tate galleries and Southbank brutalism. One of the highlights of the course output was a feature in online magazine Dezeen as part of their Virtual Design Festival showing off ten of the best lamp prototypes that Year 02 designed and fabricated. This mini-brief explored materiality as well as understanding 1:1 construction to make a sculptural piece of bespoke furniture that became the genesis for the student’s Nail Bar refurbishment proposals. The Nail Bar project took Year 02 into a Covid-19 online teaching environment where the momentum did not fade and students created exciting and inventive proposals for ‘Beauty Nail Salon’ in Stratford, East London. Year 03 graduates completed Eco-House, a live project based in Ashford, Kent in conjunction with FNFC Architects, a practice we have worked with for two years now. The house design was a test for the year 03’s where a sensitive mix of rammed-earth walls, rooflight solutions within a green roof and decking to a water’s edge within a decadent single storey residence became the challenge. The students wrote briefs based on fictional clients and carried out successful studies of the intricacies of residential needs as well as implementing featured spaces for musicians, artists, writers and lawyers amongst others.
P239 BA Interior Design
A year in Briefs:
BA (Hons) Interior Design Dr Keith Winter (Programme Leader), Dr Sabina Andron, Susan Ginsburgh, Joshua Beaty, Claudia Palma, Pol Gallagher, Nayden Hadzhiev, Maliha Haque, Catherine Phillips
Athens, Greece & London, UK
Special thanks to: Anya Gordon Clarke, Dominic Eley, FNFC Architects, Studio Naama, LOM Architecture + Design, Adam Gibbons + Eva Wilson, ACE School Office, DEZEEN Magazine, Beauty Nail Salon
Year 2: Demha Ahmed, Alghaliah Alsiri M J H B, Didem Cetinkaya, Lily Dadson, Sumayyah Dauhoo Onur Derin, Inci Devecigiller, Bianca Franga, Atanaska Hadzhiyska, Asma Ibrahim, Nahed Idris, Alisa Insoi, Roisin King, Gizem Kose, Batul Lopez, Rachel Mcdowell, Robyn Mcgregor, Melika Mirabadi, Melissa Mustafa, Wajeeha Nazir, Rhiann Noel, Daniela Nunez Paco, Alison Richards, Mavish Rizvi, Dilara Sert, Nafisa Tailor, Elif Tintas, Enrica Tofi, Sara Trevain, Dijle Ucrak, Diana Vysniauskaite, Alex Wong Year 3: Delmarie Coates, Joanne Dean, Preeyanka Gandhi Gulraj, Carolina Iacovenco, Lian Nasseri Jessica Pembroke, Rosa Sheaves, Crystal Stewart.
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P241â&#x20AC;&#x192; BA Interior Design
Students Year 1: Axelle Assi, Jasmine Assi, Stephanie Balde, Sara Barod, Yasmin Benrakad Imlahi, Rushaun, Buchanan, Nelly Dibaud, Jazmine Fagbayi, Julia Florian, Lorenza Haddow, Humayra Haque, Zainab Jimoh, Sevgi Karaagachla, Kizrene Kenton, Rihab Kharbouchi, Sidra Khouli, Laura Lukacova, Michelle Ly, Yoana Miglencheva, Tasneem Mohammed, Solveiga Murauskaite, Anastasia Mustapha, Noemi Orellana, Osama Medhat Mahmoud Nehad Mettwaly Sead, Laylaa Osman Nauma Patel, Nicusor Pocitar, Taiwo Popoola, Leanne Rosemary Taylor, Ridwan Salman, Khushi Sirvi Nitesh, Matea Soljak
P78 P242 BABA Interior Interior Design Design
INDEX: 1 Lamp prototype by Melissa Mustafa 2 ‘Eco-House’ dining room view by Carolina Iocavenco 3-6 Barbican Terrace collages, material palette and internal view by Crystal Stewart 7-23 Nail Bar Lamp Designs by Year 02 24 Nail Bar internal view by Diana Vysniauskaite 25 Nail Bar internal view by Rae McDowell 26 Barbican Pavilion view by Alex Wong 27 Nail Bar internal view by Inci Devecilliger 28 Concept sketch Barbican Pavilion by Sara Trevain 29 Nail Bar Site Analysis by Roisin King 30 Nail Bar Section Drawing by Rae McDowell 31 Open for Business concept sketches by Layla Osman 32 Exercises in Style collage by Ridwan Salman 33 Open for Business Axo by Solveiga Murauskaite 34 PR Machine collages by Yoana Miglencheva 35 Eco-House Axo by Delmarie Coates 36 Barbican Terrace view by Delmarie Coates 37 Barbican Terrace view by Preeyanka Ghandi 38 Eco-House Iso by Carolina Iocavenco 38-40 Eco-House Sections by Rosa Sheaves 41 Eco-House internal view by Rosa Sheaves 42 Eco-House internal view by Joanne Dean 43 Model Citizens model views by Jessica Pembroke 44-47 Eco-House internal views, collage and Barbican internal view by Carolina Iocavenco 48 Exercises in Style phototransfers by Year 01 49-52 Athens field trip and studio shots 53 Exercises in Style by Tasneem Mohammed 54 Exercises in style by Stephanie Balde 55 Dream Detail shelf construction, tesselations, wallpaper design and publications work by Year 01
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Postgraduate Studies MRes Architecture MA Architecture and Urbanism MA Professional Landscape & Urbanism MA Interior Design PhDs
P261â&#x20AC;&#x192; Postgraduate
MRes Architecture
Reading the neoliberal city ANNA MINTON, DEBRA SHAW
Anna Minton, author of Big Capital: Who is London for? (Penguin 2017) and Ground Control: Fear and happiness in the 21st century city (Penguin 2009/12), is the Programme Leader on the MRes Architecture. This multi-disciplinary course, sited within the architecture department, welcomes applicants from a wide range of backgrounds. While situated in Londonâ&#x20AC;&#x2122;s Docklands, the global impact of these processes, which are relevant across the world, provides the context. As this is a small seminar based course, focused on lectures and group discussion, we were able to transfer seamlessly online following lockdown. We will continue with blended learning this academic year and we will also continue with our programme of walks through the city. The course is comprised of four modules: Reading the neoliberal city; Critical Writing and Professional Practice; Ethical Development and the Digital City. Topics for study include the housing crisis and the privatisation of cities, investigating the financialisation of the urban environment. The modules on Ethical Development and the Digital City investigate potential economic alternatives. The module on Critical Writing focuses on high level writing skills, through written assignments and the study of critical writing about the city, from Situationism to Psychogeography. The modules on Critical Writing and the Digital City are also offered to Diploma students choosing Critical Writing for their Theory component. Anna is joined on
the academic team by Debra Shaw, Reader in Cultural Theory, who teaches on the Digital City module. Guest lecturers are a key component of the course and include politicians, leading industry figures and activists. This year speakers included James Murray, Deputy Mayor for Housing at the Greater London Authority and Daniel Moylan, former advisor to Boris Johnson when he was Mayor. The MRes provides a pathway to PhD study, with two former MRes students currently doing PhDs with us. Martyn Holmes, who is the holder of the UEL PhD studentship, is investigating whether communityled housing might provide a solution to the housing crisis and Luke Okende is researching the impact of participatory processes to improve slum conditions in Kinshasa, Democratic Republic of Congo. For more information contact: Anna Minton, Reader in Architecture & Programme Leader, a.minton@uel.ac.uk
P263â&#x20AC;&#x192; MRes Architecture
Thanks to Visiting Speakers: James Murray MP; Daniel Moylan; Adam Greenfield; Morag Rose
Visit to the House of Commons to meet Shadow Housing Minister James Murray MP
Still from a walk to document the changing nature of Docklands and Popla
MA Architecture and Urbanism FULVIO WIRZ, BARBARA ZANDAVALI
The convergence between architecture, computation and technology has reshaped the way architects think and operate. The MA in Architecture and Urbanism embraces this multidisciplinar approach by offering a selection of complementary learning paths deeply connected to the most recent research trends: Computational Design, Design for Digital and Robotic Construction and Urban Design. The programme experiments new possibilities for architectural spaces and cities encouraging students to delineate with their works a clear connection between design processes, technological advances and sustainable strategies. The goal is to produce research and innovation to make to a secure impact in the industry. Digital fabrication plays a big role in the future development of the building industry. The MA in Architecture and Urbanism makes the most of the digital manufacturing facilities available on campus throught the dFUEL (Digital Fabrication Lab UEL) by offering this knowledge as part of the curriculum of our students. This year the master has been focusing on the correlation between form and performance exploring the concept of “active surface” and “modularity” to develop schemes where the spatial quality emerges from processes of repetition, rotation and decomposition of a discrete numer of parts.
Clerkenwell & Poplar, London; Athens
“Where do new ideas come from? The answer is simple: differences. While there are many theories of creativity, the only tenet they all share is that creativity comes from unlikely juxtapositions. The best way to maximize differences is to mix ages, cultures, and disciplines.” — Nicholas Negroponte
Computational Design: Merve Karapekmez, Nilgun Ede, Su Çıngı. Design for Digital and Robotic Construction: Murathan Alp Ozok and Tammar Maythem Shaheed Bohi.
Special thanks to: Visiiting Critics: Joao Alves (Cundall ), Rasti Bartek (Cundall), Mattia Santi (Architectural Association), Davide del Giudice (Zaha Hadid Architects) , Marco Amoroso (Zaha Hadid Architects), Niccolò Casas (the Bartlett School of Architecture , Rhode Island School of Design) Isaie Bloch (UEL), Teoman Ayas (London South Bank University ).
bit.ly/AD-Yearbook-AU
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P265 Architecture + Urbanism
Students
P266 Architecture + Urbanism
1 Building external view drawing by Murathan Alp Ozok, the design benefits of minimal surfaces periodic property at the same time that explores its module variability. 2 On site manufacturing scheme for concrete casting using 3D printed moulds, drawing by Murathan Alp Ozok. 3 ‘Building proposal exploded isometric view, drawing by Murathan Alp Ozok. This drawing illustrates the proposal spatial articulation enabled by one complex arranged in a variety of combinations.
FABRICATION RESEARCH
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P268 Architecture + Urbanism
4 Parametric form generation for pre-casted columns drawing by Su Çıngı. The colums are conceived to be casted on robotically manufacture moulds. 5 Design proposal floorplan and night view drawing by Su Çıngı. Both drawings illustrate the strong landscape integration with the Poplar site surroundings. 6 Building external view highlighting structural component and integration between internal and external spaces, drawing by Su Çıngı.
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P269 Architecture + Urbanism
7 Kinetic facade systems details based on origami principals.The proposed scheme is based on a deployable geometry to be manufactured with EFTE and metal sheets, drawings by Merve Karapekmez. 8 Construction systems inspired in folding and cutting (kiragami) techniques. The proposed structure is made of cross laminated timber sheets, drawing by Nilgun Ede. 9 Integration of façade and structural elements using folding techniques, drawing by Nilgun Ede. 10 Aggregation patterns of permanent fabric concrete formwork components and mobile pavilion proposal perspective using the proposed system. Drawings by Tammar Maythem Shaheed Bohi.
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T.BOHI T.BOHI
P.F. WIRZ P.B.ZANDAVALI
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URBAN DESIGN Open Studio
Christoph Hadrys
The Urban Design course is part of the MA Architecture and Urbanism Programme. It is the design intensive course for alternative urbanisms at the University of East London. The course is set up to develop both intellectual and practical skills for urban designers and architects. Through interrelated design and theory projects, we search for alternative solutions to complex urban conditions. The course sets out to explore and develop new forms of urban practice in cities undergoing critical change, where conventional thinking struggles to respond to uncertainties and the necessity for imaginative thinking. It aims to prepare students to work with different geographical settings, urban agendas and economies. We engage directly with communities, sites and contexts, to be able to develop both practical and innovative urban designs, from the scale of regions and cities, all the way through to neighbourhoods and building scales. This approach is informed by local and international urban practice, but also emphasizes students‘ individual interests, abilities and intuition, to explore and develop new forms of urbanism. Asking questions, like who is building cities and how to build cities, allows us to open our understanding about finer visible and invisible forces. We research diverse methodologies, like the use of tolerances and timelines, to enable more dynamic and generative urban
processes, allowing a much wider range of people to take part in building cities. The course provides a platform for the individual student to develop an expertise and an approach to sustainable urban design through the development of urban design strategies and research. As more and more emphasis is put on the importance of sustainable developments by governments and professional bodies, such knowledge and skills will be of increasing usefulness to the students in their professional lives. The programme prepares for work in the public as well as in the private sector. The masters course has two fully integrated parts: The design intensive studio and the theory component comprising Masters and Professional MArch (ARB/ RIBA Part2) students. The Urban Design course welcomes students as fellow innovators in a programme that is both visionary and hands on in seeking to develop urban futures that are sustainable, distinctive and enjoyable.
“The neatness of architecture is its seduction; it defines, excludes, limits, separates from the ‘rest’ - but it also consumes. It exploits and exhausts the potentials that can be generated finally only by urbanism, and that only the specific imagination of urbanism can invent and renew “ Rem Koolhaas , SMLXL
LONDON + ATHENS, GREECE
Y4: Jhenae Fullerton, Nur Azzahra Mohamad Adzlee, Raul Mormeneo, Styliani Efthymia (Stefi) Papachristou, Chun-Li Reid, Tendai Simbo, Chutimon (Nicknack) Suetragulwong, Effrosyni Valtadorou, Natdanai (Tyler) Wareerinsiri, Brian Siew Horng Wong, Jun Bin Yap
Y5: Ahmed Ashour, Valeria Burmistrova, Larisa David, Sadaf Fatima, Nurina Ghizan, Alexandra Goodey, Ezgi Guzeloglu, Paul Joseph, Ewelina Kroll, Eleftheria Lampropoulou, Lenny Lew, Christina Nika, Sahar Pathan, Erdjan Ruci ma-ud.blogspot.com
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P271â&#x20AC;&#x192; Urban Design
Students: Kai Xin Tan, Ghader Bahman, Anika Ahmed, Oohitha Kokkula
P272 Urban Design
1 Post industrial landscape mapping and design proposal in the Lea Valley, East London by Kai Xin Tan 2 - 4 Urban design proposal for light industries and self-built community in the Lea Valley by Kai Xin Tan
Urban Design Studio The design component aims to prepare students to work with different urban situations and agendas. In the beginning of each academic year, students engage in a five week induction project, to familiarise themselves with the teaching and learning environment of the course. During that time, we develop design tools and principles, by testing and refining them in various locations. For the main design project, individual students focus on one site of their choice, for the rest of the academic year. This focus allows very deep explorations of a range of scales and involved urban design issues. Students formulate objectives, briefs, programmes and spatial aspirations of their design work. Throughout the course, we engage in workshops, presentations and tutorials. Open Studio This academic year, students select the location and topic of their design, theory and research project themselves. The course offers a rich platform for students’ visions for cities. We formulated strategies that respond to global and site conditions, understanding of scales, architectural sensibilities and local communities, to create social, spatial and time-based habitats and environments.
Urban Theory Component The theory component welcomes Masters students and also 4th and 5th year MArch students. The course is ‘hands on‘ and it works in close collaboration with the design component. A lot of urban issues are difficult to explore purely on a visual basis. This has to do with the abstract level of scale and complexity. For example, we can do models of buildings and they will partly tell us spatial and social relationships. In urban design that is different. We can do models of a city, but it is not that easy to understand the underlying forces, that are shaping cities. Concerning issues like migration or globalization, physical models might tell us very little. We have to read, write and talk, to gain a more holistic understanding of urban issues. Students attend weekly lectures on distinct urban topics, followed by seminars. The fields of studies range from urban history, theory, interpretation and practice to science. Invited guests from different backgrounds enrich the course with diverse talks. We explore complexities of cities through discussions, writings, readings, lectures, drawings, student presentations, movies and excursions. The theory component is assessed through ongoing course work and an 4000 - 5000 word essay on an urban topic that the students select and research themselves. The studies in urban theory are set up to help articulate a critical context and vision for students’ design and thesis work.
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P273â&#x20AC;&#x192; Urban Design
MA Professional Landscape Architecture Dr B Snaith CMLI, G Woodfall CMLI
Our Professional Landscape Architecture programmes span practice and academia, investigating landscape at all scales. We are firmly grounded in professional practice and the complex issues addressed by landscape architects globally each day. We are taught by practitioners, work on live projects with real clients, make changes for the better in the environment while we learn, and we include work-shadowing placements in our programmes. Together we make tangible impacts in real places for real people. At the same time, we promote an informed and selfdirected critical outlook. We challenge our students to question accepted norms, and assumptions about what landscape is, what nature is, what beauty is, who the landscape is for, and what contemporary practice should be. We engage with theorists, with environmental and social concerns, and we carry out our own investigations and research. The student work illustrated here is selected from MA, MA (Conversion) and Pg Dip Professional Landscape Architecture programmes this year. In September 2019, the International Federation of Landscape Architects recognised the Climate Emergency. We partnered with Royal Parks to ask how can large parks go beyond resilience, towards added benefit - Parks Plus? With Royal Parks landscape, sustainability and transport officers, and with Camden’s transport team, we began to understand the challenges they face. Armed with Greta Thunberg’s
call to urgent action we challenged the bounds set by organisational structures. Is it possible, that as well as providing world class public leisure space, and being a heritage asset, the Royal Parks might be • energy positive - no net inputs, contributing through solar panels, or ground source energy to the grid • contributing even more to carbon capture • productive landscapes as in WW2, - producing food through commercial/ community growing, or an edible landscape, produce hay or straw, forestry, biofuels, • contributing to area flood risk management • conserving water, from aquifer and mains supply • supporting sustainable transport- electric vehicles/electric powered bikes, wider walking and cycling networks, removing all cars • planning for high temperatures, summer droughts, and winter floods Our field visit took us to Amsterdam, a contemporary city thriving on sustainable transport, wind power, water management, environmental innovation and the location of Bos Park a city park in a forest.
“... the moment we start behaving as if we were in an emergency, we can avoid climate and ecological catastrophe... But the opportunity to do so will not last for long ... We must start today. We have no more excuses” Greta Thunberg, UK Houses of Parliament (23rd April 2019)
ROYAL PARKS/CAMDEN & AMSTERDAM
instagram @uel_landscape
Special thanks to: The Royal Parks: Sara Tome, Jane Pelly, Ellen Roelvink, Mat Bonomi, Matt Steinmann, Matt Higham. LB Camden: Karl Brierly, Daniel Bailey. Visiting Professionals: Andrea Dates (Townshend), Ceylan Belek (Martha Schwartz & Partners), Eduardo Carranza (Gustafson Porter Bowman), Jon Sheaff (Jon Sheaff Associates), Magda Pelka (Outerspace), Oliver Barden (Townshend), Richard Peckham (Shape), Sam Perry (LI D&I). PRG: Fenella Griffin (Untitled Practice), Susan Lowenthal (WSP), Tom Lonsdale (Placecraft), Eduardo Carranza (Gustafson Porter Bowman) . Thanks for placements to: Gustafson Porter Bowman, Martha Schwartz & Partners, Townshend
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P275 Landscape Architecture
Students PG Dip/Conversion 1: Anne-Marie Osei-Sarfoh, Gaetano la Tanza, Julia Shirley-Quirk, Kuai Bing Wong, Lewis Reynolds, Liz Rasmussen, Max Brigden, Nathalie Foster, Ruth Ferguson, Shambhavi Sawant MA /Conversion 2: Caroline O’Farrell, Jackie Shallcross, Harvey Erhard, Lisa Peachey, Shannon du Hasky
P276 Landscape Architecture
1 (Previous page) Community supported agriculture, produce market and community building, Caroline O’Farrell, Parks + 2 Buckthorne Cutting student design & build forest classroom and outdoor cooking area, for ‘Fourth Reserve’ community group, Lewisham. Image Gaetano la Tanza. 3 Making tiles including clay dug on site, Kuai Bing Wong, Shambhavi Sawant, Shannon du Hasky 4 Concrete mixing and casting on site, Nathalie Foster, Shannon du Hasky, Anne-Marie Osei-Sarfoh, Ruth Ferguson, Caroline O’Farrell, Jackie Shallcross, Richard Peckham (Shape), Gemma Woodfall
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5 ‘High level’ strategy to increase climate change mitigation value at Regents Park, Caroline O’Farrell and Jackie Shallcross. Top to bottom - Carbon, Water, Habitat, Sustainable Resources, & Movement strategies 6 Sustainable travel promoted using ‘modal filter’ and ‘traffic calming’. Urban Route visualisation with planting, seating and raised table by Kuai Bing Wong 7 Borneo Sporenborg walking bridge, West 8, Amsterdam 8 Bos Park, hockey complex, Amsterdam 9 Community Supported Agriculture at ‘Pluk’, Amsterdam
P278 Landscape Architecture
“Inside, Outside, To and Through” a conceptual response to barriers and boundaries 10 ‘Water Pavilion’, new walking connection, Kuai Bing Wong 11 ’Woodland Ring’ supporting playful walking routes along the Broadwalk, Jackie Shallcross 12 Sketch, Liz Rasmussen 13 Models and CAD drawing Anne-Marie Osei-Sarfoh “Parks + @Regent’s Park” major design project 14 Illustrative Masterplan, Caroline O’Farrell (opposite)
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P280 Landscape Architecture
“Parks + @Regent’s Park” major design project 15 3D aerial view of tranquil zone, Caroline O’Farrell. Opposite page 16 The explosive history of Macclesfield Bridge, Lewis Reynolds 17 Movement and access strategy, Anne-Marie OseiSarfoh 18 Extract from planting strategy, Liz Rasmussen 19 Illustrative masterplan, Lewis Reynolds.
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P281â&#x20AC;&#x192; Landscape Architecture
P282 Landscape Architecture
20 Temporary planter seats as modal filters Anne-Marie OseiSarfoh. 21 ’Primrose Hill Plaza, traffic calming /shared surface at park entrance, with self colonising green network in drainage strips. Design developed from Frank Auerbach ‘Primrose Hill’ Jackie Shallcross 22 Pavilion and walkway over surface flood water storage pond Kuai Bing Wong Opposite Page: 23 Landscape theory studies (Conversion year): Traffic changes and pedestrian/ cyclist movements, Van Gogh Walk Stockwell, Max Brigden 24 Planting plan, Jubilee Gardens, Shambhavi Sawant 25 Emotional response drawing Jubilee Gardens, Julia ShirleyQuirk 26 Longitudinal planting study, Ruth Ferguson, 27 Working in a professional context-students present to the landscape and sustainability team at the Royal Parks. 20
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P283â&#x20AC;&#x192; Landscape Architecture
MA Interior Design Programme Leader: Claudia Palma Romao
This academic year the MA Interior Design will explore contemporary themes based on current global political-economic, social and cultural transitions in a period known as various aliases: late-capitalism, postmodernity, neoliberalism and globalisation. Approaching with real, allegorical and poetic references of the everyday collective, we will particularly discuss the concept of Community Space. We will analyse how space and design are responsible in the creation, sustainability and improvement of local and global communities, and will examine spaces that are shared between different people and programmes with the potential of forming and strengthening the dynamics and communities. In our first experimental project we will explore themes of mobility, domesticity and displacement. Through a series of plays and performances, this exercise will provoke different ways of thinking and seeing qualities of space, conventional and unconventional typologies, interior vs exterior, and new emerging programmes in the flux of the contemporary city. This investigation will then lead us to our second project, where we will address the urgent and emergent topic of migrant living, Through 2 specific real exercises, you will be asked to explore how space and design have the social responsibility of providing opportunities for integration, participation and empowerment in individuals with different social and cultural contexts. Questioning architectures of
Mission Statement
(in)permanence, and how transient design could be a variety of things: built one day and disassembled another, as a nomad among environmental and geopolitical conditions, or spaces that house impermanent populations or respond to temporary phenomena or needs. On term 2, on our final design project, concepts of Design for Change, Design for Care, and Design Activism will be applyed through a close collaboration with local communities (live-projects) set at Somers Town, Camden Town, Kings Cross. Stablishing pilot projects for sustainable, autonomous, and resilient communities. Empowerment through making. These projects aim to reinforce skills and knowledge as designer, to better respond to the contemporary reality with a sophisticated and sustainable critic. For this a continuous articulation with art, visual cultures, literature, politics and economies will be tested and applied.
www.soup-international.com
Contributors; Southwark Center for Asylum Seekers (SDCAS), Story Garden - Make (Kings Cross), London Museums, Chalton Gallery, Cargo Collective, Crowdfunder.co.uk, Lightme Lusail, Qatar Airways, The Cock Tavern
MA Interior Design
bit.ly/AD-Yearbook-MAID @uel_mainteriordesign [Instagram]
Special thanks to: Visiiting Critics; Andrew Friend (Sugarhouse Studio), Warren Lee (SDCAS), Javier Calderon (Chalton Gallery), Renee Tobe, Carl Callaghan, Anastasia Karandinou, Susan Ginsberg, Rachel Brown.
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Students Ayca Aydin, Aysha Farhana, Bethany Hooper, Ed Chelsea Rimando, Himani Ravuri, Senuri Peththawadu, Tatiana Garcia Barca, Yuan Shiqi
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Design Emergency Migrant Living Refugees Mobile Community Kitchen Client: Southwark Day Centre for Asylum Seekers SDCAS Platinum Award, UEL Volunteering Awards 2020 Addressing the urgent and emergent topic of migrant living, through a specific real design exercise, students were asked to explore how space and design have the social responsibility to provide opportunities for integration, participation and empowerment in individuals with different social and cultural contexts. Questioning architectures of (im)permanence, and how transient design could be a variety of things: different uses, built one day and disassembled another, or spaces that house impermanent populations or respond to temporary phenomena or needs, such as climate change, war, domestic violence, or for example the now so real, pandemics. Working together with Southwark Day Centre for Asylum Seekers SDCAS (with the mission of supporting asylum seekers and refugees falling into destitution) we have examined the basic needs and social programmes with the larger role of promoting wellbeing, integration (post-trauma) and a more inclusive community. Being devoid of kitchen facilities in the SDCAS accommodation centres - the MA Interior Design has explored the theme of “Food” as an opportunity to rethink strategies of care, nourishment and identity, through a series of design proposals for a “Community Kitchen”. This space aims to promote the celebration of “Food” as a cultural mechanism (ie. celebration of specific religious/ cultural festivities of the nationality involved), and as an experimental method for the “after asylum phase”, where in a short period of 2 weeks Refugees (new status) have to find work - and where Food could be the vehicle for their integration into the host society.
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1 Theory workshop with Renee Tobe: Image as Argumentative Tool, the “Atleas Mnemosyne” by Aby Warburg as methodologie. 2 Site Photomontage, site images “ St Mary’s Church Newignton Green, SDCAS office. by Yuan Shiqi 3 Modular systems studies, models scale 1/50, constructive systems, conceptual thinking by Ayca Audin. 5 Artistic collage, based on research imagery by Yuan Shiqi 6 Artistic collage, based on research imagery by Bethany Hooper 7 Design development, sketches and model studies 1/50 by Yuan Shiqi
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8, 9 Modular Systems and spatial organization + structural elements, work by Yuan Shiqi. 10 Modular organization plans, interactictive mobility, transformational space, 11 Model studies of diffrents modules and systems. 12 Axonometric proposal of spacial composition and design proposal, of the diffrent components, work by Ayca Audin.
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13 Artistic collgae, design process, conceptual thinking by Beth Hooper 14 Research exploration and applyed critical thinking by Beth Hooper. 15 Design development critical thinking, typologies studies by Himani Ravuri 16 Spatial studies, plan diagrams, technical details, material studies by Yuan Shiqi 17 ‘Modular systems digital models, design proposal by Aysha Farahna 18 Modular mobile “transformers” adaptable to diffrent programmes/ activities by Beth Hooper
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19 Modular kitchen, mobile systems, design proposal, material studies and diffrent material components by Senuri Peththawadu. â&#x20AC;&#x192; 20 Axonometric drawing of design proposal, nomadic kitchen - reflecting intersectional cultures and ecological thought. material studies, and technical apparatus 1/1 model experiments, by Ed Chelsea Rimando
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21 Rotar kitchen, design proposal by Tatiana Garcia Barca 22 Photomontage collage, design proposal by Yuan Shiqi. 23 Constructive details, material studies, scale 1/1 by Yuan Shiqi.
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Digital Art and Interactive Media Festival, Qatar
24, 25 Video Stills from “There is no Planet B” and “ Hands”, video work by Beth Hooper, Tatiana Garcia, Aysha Farhana, Senuri Peththawadu, and Himani Ravuri.
Video Art Award
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The MA Interior Design has been represented by Aysha Farhana, Senuri Peththawadu, Himani Ravuri, Beth Hooper, and Tatiana Garcia, in the II Edition of the Light Me Lusail - Digital Art and Interactive Media Festival in Qatar, who have been awarded a prize with a video art project. Our UEL students have developed a critical visual and sound narrative, exploring the current emergency of climate-change and extinction. Their video was showcased together with 10 renowned international digital media artists. The narrative follows the LML second edition theme surrounding the concept of respect “Respect”.
MA Interior Design
Light Me Lusail Qatar II Edition 2020
This 2020 edition of the festival brings to Qatar innovative technologies and mediums in realm of Light Art and Digital Media. LightMe Lusail is solidifying Qatar’s position as a Tourism & Cultural Hub, delivering creative and innovative entertainment solution, promoting diversity and unity among local communities, and delivering a clear message of #Respect to the international community through the universal language of Art.
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Chalton Gardens Mental Health, Wellbeing and the City A community engagement project aimed at developing design strategies by addressing the concept of well-being and empowering communities in Somers Town, London. The design concept and atmosphere are communicated through the handling of a range of scales; from the interpretation of the broader site to the detailing of the materials and structures. For this brief, we were given a choice of two clients living in housing association flats in addition to a second site, a shared courtyard and a third, the local pub. We also had the opportunity to propose interventions in the street. Our team came up with design strategies individually by addressing the following requirements: Promote health and wellbeing. Encourage community engagement and cohesion. Engage young people in positive activities. Improve spaces, places and estate regeneration. Reduce social isolation. Engage older people in positive activities. Improve access to training and education-based activities. Connecting communities with their green spaces. Improving mental health through the use of green spaces. Increase levels of arts and cultural activity. To expand design strategies to the wider Kings Cross area.
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26, 28 Somers Town historical analysis, council states by Aysha Farhana and Yuan Shiqi 27 Programmatic analysis of Somers Town/ Chalton streel by Beth Hooper 28 Site analysis, ethnicities, private/public spaces, sociologies of the space, by Beth Hooper.
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30 ’Aerial vuew of “Story Gardens” community engagement eco-living: herbal and edible gardens, draing by Himani Ravuri. 32 Photomontages of green houses proposal - development of sustainable communities through shared grow-food cooperatives - resilient and autonomous banks, designed by Ed Chelsea Rimando 32 Inise/ outside playful hubs - mobile furniture - allocation of diffrent programs - modular systems by Aysha Farhana. 33 Master plan studies for the development of semi/private council states courtyards - creating resilient communities through edible gardens, medicinal gardens, and other shared activities. 34 sketch drawings by Senuri Peththawadu. 35 Courtyard strategies research by Bethany Hooper perennial plants, seasonal gardening, biodynamic agriculture and permaculture concepts. Tipologies studies. by Bethany Hooper. 36 Green modular house by Tatiana Garcia Barca
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37 The Adaptable City, modules - a series of playful interrelational objects, interacting with various areas of Somers Town, articulating diffrent programmes reagrding the area they are placed. design by Aysha Audin. 38 Modular systemic inside/ outside furnitures, multifuctional utilities and programmes, design by Aysha Farhana. 39 Bread & Books market units, collaboration with British Library, The Cock Tavern Pub and Chalton Market. development of a “family of object which will be distributed along Kings Cross, St Pancras and Somers Town area. design by Himani Ravuri. 40 Designing for visually impaired - colour chart developed by Tatiana Ravuri. 41 Organization system for OCD people, modular, functional series of adaptable cabinets, design by Aysha Farhana. 40 Designing for visually impaired - mapping movements, gestures and objects. plan organization in a council state flat, working with a real client, design by Yuan Shiqi.
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PhDs
Architecture + Design Dr. Renee Tobe Dr. Heba Elsharkawy Dr. Anna Minton Alan Chandler
Doctoral research in architecture at UEL is as transdisciplinary as the practice of architecture itself. High level impact studies that examine smart cities, and intelligent design with contextual analysis mean that we work with both the Sustainable Research Institute (SRI) and colleagues from Humanities. International experts in city design, moving image, sensory perception, retrofit housing, mental health, cultural studies, natural environment, and philosophy guide students through individually develop research projects. The intent of the doctorate is to produce high quality researchers across the diffrent strands of the built environment, that supports studentsâ&#x20AC;&#x2122; own concerns as well as funded research investigations.
Mission Statement
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PhD by Publication The Key to Modern Freemasonry: The Hidden Mysteries of Nature and Science Investigator: Emeritus Professor Charles Lawrence Director of Studies: Dr Renee Tobe Second Supervisor: Prof Darryl Newport
Congratulations to octogenarian Emeritus Professor Charles Lawrence awarded his Phd by Publication for his research into the connections between Freemasonry and Engineering. How and Why Science Influenced the Founding and Structure of Modern Freemasonry and why it is a Perfect Microcosm of the Same Impact on the Upper Echelons of Society at that Critical Time in British Social History. Freemasonry’s rituals place great emphasis on understanding the science that underpins its basic philosophy and insists that Masons must strive to understand the implications of science. However, this scientific injunction only remained for the initial years of Freemasonry, while the Founders, such as George Payne, John Theophilus Desagulier and American Benjamin Franklin, were still active in the 18th century(1). Subsequent Freemasons and historians of Freemasonry have since ignored the contribution of science. Primary texts such as Jones’ Freemasons’s Book of the Royal Arch and Carpenter’s biography of Desagulier provide essential insight into this influential figure.
1 Publication Front Cover “ The key To Modern Freemasonry” by Ermetus Professor Charles Lawerence.
Current research on Freemasonry focuses on the esoteric, spiritual and cabalistic aspects while the origins were scientific and related to actual stone masonry. This research returns the history of Freemasonry to its origins and demonstrates geological, structural, and geometrical connections. This published work seeks to address this gap in knowledge. Each of the articles chosen for the submissions represents a stage in the development of this research. Notes 1. A. Carpenter. 2011. John Theophilus Desagulier; a Natural Philosopher, Engineer, and Freemason in Newtonian England. London: Continuum.
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PhD by Research The Positive Effects of Interior Design in Care Homes for People Living with Dementia Investigator: Dina Al Qusou Director of Studies: Dr Renee Tobe Second Supervisor: Dr Anastasia Karandinou
Designing for dementia does not come in a handbook manual because every person is different, it effects everyone in a different way and a simple design change can help one person, and be a trigger for another. The different collection of data would prove that culture and different life experiences could influence ones’ senses and how they adapt to the environment. This research will able to identify ways to improve how a person is living just by altering the little details in one’s home whether it is in color, positioning of furniture, or how sunlight enters the room. Design for dementia is a promising field in which there is still a lot of uncharted territory within this subject. The investigations will be a collection of recourses from different types of references in order to help analyze and create a better understanding for architects and designers when it comes to creating the “ideal” environment for those who suffer from dementia. The references will be different media such as references from industries, healthcare research, and design theories, but the care homes and designs that this research will be looking at is not unrelated. The research will be evaluating current work and existing evidence to propose new or innovative means to improve the lives of people with dementia. Otherwise, a proposal of new protocols relevant to diverse cultural practices to improve the lives of people with dementia.
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2 Artistic Collage by Dina Al Qusou.
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PhD by Research Heritage-Led Regeneration Schemes and Heritage Values of Historic Buildings within Different International Contexts Investigator: Umut Gedik Kilic Director of Studies: Alan Chandler
The research begins with the hypothesis that heritage-led regeneration schemes for historic buildings, when considered of high importance in terms of their heritage value, should be planned according to each corresponding international context and condition that defines that particular community at that particular location. This is accomplished in pursuit of creating an identifiable place for the residents while promoting social and economic progress within manageable frameworks. This research aims to identify the parameters that should guide the formation of heritage-led regeneration schemes and guide the negotiation of the heritage value of historic buildings within different international contexts. The investigation intends to extract a toolkit of parameters that should highlight the importance of the genius loci of the architectural work under consideration, combatting the universalising and homogenising process of normative regeneration led development, in order to retain original and fundamental character. To test the outcomes of the secondary research, the case study of the infamous Norton Folgate development on the Northern fringes of the City of London is selected due to its controversial nature and articulate argumentation both for and against the scheme.
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3 British lams scheme source- online Spitalfield Trust
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PhD by Research Assessing the Domestic Energy Use and Thermal Comfort of Occupants in a Post-war Social Housing Development Estate in Famagusta, Northern Cyprus Investigator: Bertug Ozarisoy Director of Studies: Dr Heba Elsharkawy Supervisor: Mrs. Maria Alessandra Segantini Supervisor: Prof. Darryl John Newport This research study presents an investigation into the energy use and its measures in buildings in order to improve the energy efficiency of residential tower blocks (RTBs) in Famagusta, Northern Cyprus. On this Mediterranean island, which experiences hot and humid temperatures throughout the year, residential buildings need to adapt to the climate to improve the thermal comfort of their occupants. The current housing stock includes a prevalence of high density, mediumand low-rise post-war social housing estates that do not have any insulation materials implemented in the building envelopes. One of the main concerns is that Northern Cyprus is burdened with a legacy of poorly built social housing stocks that have accumulated over the last few decades. The aim of this study is to assess both the overheating risk and the thermal comfort of occupants in a post-war social housing estate, as an exploratory case study.
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4 The modular volumetric passive shading systems had been installed onto the building envelope in order to regulate both the exposure of sunshine hours and natural ventilation throughout the day.
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PhD by Research Using Urban Green Systems as an Approach for Future Climate Change Adaptation in London Investigator: Hashem Taher Director of Studies: Dr Heba Elsharkawy Supervisor: Prof. Darryl John Newport
The research investigates the influence of increasing the Urban Green Systems (UGS) percentage which might be considered as a key solution to mitigate Urban Heat Island (UHI) effect as well as provide thermally comfortable outdoor environments for pedestrians. The investigation is undertaken by comparing the morphology of precincts and streets in relation to air temperature, radiant temperature and surface temperature within specific street canyons in London city centre as an urban developed area. The focus is to explore the effect of UGS on the microclimate of the same urban canyon by adjusting its percentage from 10 to 30 to 50 per cent. The results of this research will prove useful to urban planners, architects, engineers and policy makers in that it will provide an in-depth understanding of the potential of UGSs to mitigate the UHI effect in a sustainable, energy-efficient and costeffective way.
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5 The four scenarios for increasing UGS in Westminster area, London (from top to bottom: current situation, 25% trees, 25% green facades, 50% trees, 50% green facades)