A+D Yearbook 2016

A+D Architecture + Design Yearbook 2016 Publisher University of East London Editor Dr Anastasia Karandinou Graphic Design Jon Spencer Showcase Edition June 2016 ISBN 978-0-9935963-1-5 (digital version) University of East London School of Architecture, Computing and Engineering Dockland Campus E16 2RD T+44 020 8223 2041 F+44 020 8223 2963 www.uel.ac.uk

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Contents Acknowledgements p4 Mission Statement p5 Welcome p7 Introduction p8 Research, Awards, Projects, Conferences p10 Open Jury p30 Architecture Society Lecture Series p32 STO International Lecture Series p38 Foundation p46 BSc Architecture Year 1 p60 BSc Architecture Year 2 & 3 Unit A p70 Unit C p78 Unit E p88 Unit F p98 Unit G p106 Unit H p114 MArch Architecture Year 4 & 5 Unit 2 p124 Unit 4 p132 Unit 5 p140 Unit 6 p148 Unit 9 p156 Unit 10 p164 Project X p172 BSc Architecture Design Technology (ADT) p174 BSc Product Design p184 BA Interior Design p198 Masters Programmes p210 MRes p212 MA Landscape p214 MA A+U p220 Urban Design p222 Computational Architecture p224 Sustainable Architecture p225 Architecture and Heritage p226 Master Thesis p227 PhD in Architecture + Design p228

We would like to thank the many organisations, companies and individuals who we have had the pleasure of collaborating with, including: ARB/Architects Registration Board RIBA/Royal Institute of British Architects Alberto Moletto (Move Arquitectos, Chile) Alejandro Aravena Article 25 ATER Pordenone, Italy Bamboo Bicycle Co. Birkbeck, University Of London BBAA/Soprintendenza ai Beni Architettonici e Paesaggistici di Venezia e Laguna, Italy ARUP Ca’ Foscari/University of Venice, Italy Camden Council Creekside Education Trust David Levitt (Levitt Bernstein Architects) Sustainability Research Institute Emilio De La Cerda (Pontificat Catolic Universidad, Chile) Engineers Hrw Grimshaw Architects ATER Pordenone, Italy muf architecture/art Heatherwick Studio InTeA srl, Venezia

Scott Whitby Studio Studio Bark Shanghai Giao Tong University, China University of Hasselt, Belgium Social Life Hackney City Farm ECOBUILD Sustainable Design SRI/Sustainale Research Institute STO Foundation The Building Centre The Design Museum The Courtauld Institute Of Art IUAV/University of Architecture of Venice, Italy Kazan State University of Architecture and Engineering, Russia Guangzhou School of Architecture and Urban Planning, China Akmei Metropolitan College of Athens, Greece Tony Fretton Architects C+S/Cappai Segantini Architects, Italy University Finis Terrae of Santiago, Chile William Paton Community Garden Witherford Watson Mann Architects

Leaside Wood Recycling Project Lee Valley Regional Park Authority Les Ateliers LLDC/London Legacy Development Corporation London Borough of Newham NLA/New London Architecture Paesaggistici di Venezia e Laguna, Italy Pell Frischmann PRL/ Place research Lab Ramboll

Image: Model by BSc Architecture, Unit C (Judith Okonkwo, Zachariah Igbo, Diana Rupinska, Iago Longue, Stanislava Katonova)

At A+D we foster a broad and inspiring education to establish a rich foundation for a creative professional life. 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 and 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 range 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. We work to develop practice and research to enhance life. We support and develop an atmosphere in which freedom of thought, imagination and enquiry can thrive.

BSc Architecture, Unit C, Folding Group, Alice Marwood

The Vice Chancellor

Dean of ACE School

Welcome to this year’s edition of the Architecture and Design Yearbook. I hope that you enjoy the work that is on show at this year’s exhibition. I’m sure that you will. We are extremely proud to be situated as an anchor institution at the heart of East London and, for the last forty years, we have been at the forefront of pioneering community design solutions and working in collaboration with local practices. At Docklands we also host the regional RIBA hub for East London Architecture.

Ours is an engaged curriculum where students learn by doing and participate in a unique form of exploration using advanced materials and processes.

Students have the chance to work internationally as well as nationally across their years of study.

This year two members of our staff were directly involved as members of the Turner Prize winning collective ‘Assemble’ – a project which was engaged in the imaginative transformation and regeneration of a run-down housing estate in Toxteth, Liverpool.

UEL Architecture students were also involved in preliminary research on a neighbouring estate in Bootle – in many ways a precursor of the Toxteth project.

Taken together, this series of achievements makes UEL a beacon for innovation in Architecture and Design. My sincere thanks to those colleagues, practitioners and alumni who continue to work together to make architecture the award-winning subject that it is.

It gives me great pleasure to introduce the Yearbook for Architecture and Design. This year’s book is full of a wide range of very creative and inspiring ideas and projects developed by our highly talented students. It presents a comprehensive profile of our students, reflects creative thinking, and a holistic approach to design.

We strive to offer our students the best experience possible and ensure they are ready for the workplace. We do this by working and engaging closely with employers and architecture practices.

We also conduct research which transforms lives and society.

We are an award winning School and members of our staff were amongst the group of talented young architects “Assemble” who were awarded the Turner Prize for 2016. Architecture and Design is a flagship subject for the University and I am thrilled with the quality and standard of the students’ work.

I am grateful to staff who have worked very hard to develop a rich diversity of talents. I 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 John J. Joughin Vice-Chancellor and Chief Executive University of East London

Professor Hassan Abdalla PhD FRSA Dean of the School of Architecture, Computing & Engineering

Carl Callaghan Subject Leader A+D Architecture and Design Continuity and Innovation Almost concurrently to the symposium to celebrate the life of Dalibor Vesely (1934-2015), we heard of the tragic news of Zaha Hadid’s passing (1950-2016).

The UK lost one of its most searching architectural thinkers, Vesely, and one of its most ground breaking practitioners, Hadid. Although impossible to define either, Vesely’s publication Architecture and Continuity (1978-81AA themes 1) revealed an astonishing thinker challenging preconceptions about the city and architecture. Vesely’s position challenged positivism and scientism in texts and unbuilt studio projects. Vesely led a march for “poetic imagination” in search of an “authentic reality” and situated this within a continuity of a full European culture. His was an architecture which re-evaluated Myth and Tradition located within contemporary philosophy. By contrast, Hadid was a practitioner of quite staggering built output. She had an intuitive sense of form finding which became increasingly interested in organic form and computational experimentation. Whilst early work carried forward precedents from 20C Constructivism, the work was always experimental - in search of the new and the untried. Her foremost contribution was an intuitive and very personal development of the language of expression of architecture.

It would be easy to think of Vesely and Hadid as somehow occupying two limits of a dialectic spanning from Vesely’s cultural continuity to Hadid’s individual personal creative vision (often deliberately in conflict with continuity). At the heart of this struggle is however the need for architecture to connect with its broader history on the one hand, and on the other, for culture to develop and reinvent itself through innovation.

Continuity and Innovation are at the heart of the work we study in our school of Architecture and Design and, arguably, represents the most critical

issue as we look ahead to the architecture of the next twenty five years. We need an Architecture and Design which connects with our past but which also extends our culture, through innovation that grows out of both personal intuition and more widely based research. The key to this is the dialogue or design conversation which develops between students and staff, enriched by the input of visiting practitioners and theorists to our school. I am particularly grateful to all the visiting speakers in our National Lecture series and to the STO Foundation for their sponsorship of the International Lecture series of four lectures in November (which happens simultaneously in schools of architecture in Milan, Stuttgart, Paris and Prague). The national and international series comprised a very strong line up of twenty speakers; among whom Alejandro Aravena, curator of the Venice Biennale and this year’s winner of the 2016 Pritzker Architecture Prize, and equally eminent architects in the UK, including Will Alsop and Sarah Wigglesworth.

We have an active Architecture Students Society that curates the lectures, and I would like to thank Claude Saint-Arroman and congratulate society members for the organisation beforehand, during and after each event, and in particular Neil Dixon and Jordan Harris, who have made an exceptional contribution to the series this year.

We are delighted by the success of our staff Adam Willis, Lewis Jones, (and Alumni Paloma Strelitz and James Binning) - collectively called Assemble - in winning the 2016 Turner Prize. Their work at UEL in 2014 on the Little Klondyke estate in Liverpool (see 2014 yearbook) is part of the research that underpins the Turner Prize. Under their direction, their students surveyed and made proposals to act as prototypes for the reuse of terraces of housing currently lying empty both in Liverpool and in other cities in the UK.

The prototypes outlined exciting new opportunities for living, working and taking part in public life. This civic engagement project demonstrates how work in the university can cross over into exciting and innovative proposals to enhance life in our urban communities. Work by Assemble and also by UEL staff Cappai and Segantini will be on show in the Venice Biennale 2016. Other staff members, Rashid Ali and Alex Scott Whitby, were in rival teams in the Ultimate Doha Design Prize finals, and the Prize was won by Alex Scott Whitby.

We are also delighted to announce that Chris Williamson of Weston Williamson has joined the faculty as a Visiting Professor. Chris has lectured in the school and contributed to reviews and teaching.

He brings a wealth of experience in innovative design coupled with his experience on infrastructure scaled projects and practice.

In April we hosted a conference called London Housing Crisis and its Activisms by Anna Minton (UEL) and Paul Wyatt (Birkbeck) with national and international speakers reflecting on the state of housing in London.

This has also been an exceptional year for academic success. Our students participated in the Expo Pavilion Reloaded International Workshop 2015 between UEL, Hasselt, Universidad Francisco Maroquin in Guatemala and the University of Architecture in Ljiubliana. The competition between the students was won by UEL. At the core of our teaching philosophy is the relationship developed between staff and students.

Students are taught one to one, in small groups as well as in studios, workshops, seminars and lecture halls. Our project work follows a systematic pattern of investigation, experiment and innovation.

Our students benefit from the traditions in the school in making and in the study of materials. To

these skills our students can add traditional and new approaches to representation and to manufacture.

There has been considerable expansion of the computer manufacture facilities in our new Digital Fabrication Lab and our computer training facilities.

We have developed our facilities to include robotic manufacture to further enhance this area of research.

Our school also has links with a variety of offices.

Our studio staff are often practitioners of architecture, art and design, and students regularly engage with practitioners at design reviews. Our students have an excellent track record of employment and are increasingly joining our growing network of alumni.

I would like to thank the students and staff for their work this year, and to wish those students leaving the school every success. Congratulations to all on being rated one of the top two schools of Architecture and Design in London, and first in London for NSS.

RESEARCH AWARDS PROJECTS CONFERENCES

Assemble, an architecture collective based in east London, won the 2015 Turner Prize. Two members of Assemble teach at UEL. The work of Unit F in 2014 on the Little Klondyke estate in Liverpool formed part of the wider research that underpins the Turner Prize project. The unit surveyed and made proposals for the radical re-use of the many thousands of empty terraced houses in Liverpool and other cities in the UK following the damaging effects of the Government’s Housing Market Renewal Initiative.

“For the first, though hopefully not the last time, I’m stood on a Turner prize winning art work. Tucked behind a main road leading to Toxteth, south Liverpool, a plot of just over 200 houses stands. Until 2011, the houses were mostly derelict and empty.

The residents, dismayed by plans to demolish the terraces, set up a community land trust and plotted to regenerate the four streets themselves.”

Dawn Foster, The Guardian, 8 Dec 2015 “Assemble comprise between 14-18 members and were joined by Liverpool residents at the ceremony in Glasgow. They were presented with the prize by Kim Gordon from US band Sonic Youth. Assemble were surprise inclusions on this year’s shortlist and now join the likes of Damien Hirst, Grayson Perry and Steve McQueen among the ranks of Turner Prize winners.”

BBC news, 7 Dec 2015

“Assemble winning the Turner Prize last night points to a trend happening in the art world, which connects to Theaster Gates winning the Artes Mundi prize earlier in the year. Both are trading in the name of ‘art’ to fulfil a community-based social enterprise. They are leveraging the value we place on the word ‘art’ and work artists produce, to enable them to raise the funds to do the regeneration work that motivates their activities. […] Is it art? Does it matter? If somebody turning on and off lights can win the Turner Prize, why shouldn’t somebody trying to re-energise a neglected part of an inner city win?”

Will Gompertz, Arts Editor, BBC News, 7 Dec 2015 “Set up by the Tate Gallery, the Turner Prize is the UK’s leading international prize for creative achievement.

Adam Willis’ and Lewis Jones’ work on the Little Klondyke estate in Liverpool (at UEL, 2014) is part of the research that underpins the Turner Prize award. Under their direction their students surveyed and made proposals to act as prototypes for the reuse of terraces of housing currently lying empty both in Liverpool and in other cities in the UK. The prototypes outlined exciting new opportunities for living, working and public life. This civic engagement project demonstrates how work in the university can cross over into exciting and innovative proposals to enhance life in our urban communities.”

Carl Callaghan, A+D Subject Leader

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ASSEMBLE WIN TURNER PRIZE

MAJOR RESEARCH PROJECT GRANT

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Dr Heba Elsharkawy wins British Council Newton Institutional Links Fund

In March 2016, Dr Heba Elsharkawy, Senior lecturer and Programme Leader for BSc (Hons) Architectural Design Technology and Prof Hassan Abdalla, Dean of ACE were awarded a research grant of £288,572 by the British Council to lead a Newton Institutional Links project with Cardiff University (CU) and Ain Shams University (ASU) in Egypt.

BC-SDBE project aims to develop and deliver research-led training programmes facilitated by researchers and academics from UEL, CU and other UK institutions. The training programmes, developed and facilitated by BC-SDBE project, will focus on bespoke mechanisms for sustainable design, planning and performance of buildings, neighbourhoods, and cities.

The programmes will also provide appropriate training to participants emphasising a balanced approach to environmental, socio-economic and

technical aspects of the built environment. The outcomes of this holistic capacity-building approach will raise awareness, educate and train diverse target groups on cutting-edge techniques and best practice in integrating sustainable development strategies in the built environment. BC-SDBE project outputs will also form the foundation for blended training programmes to be offered as hands-on training sessions and online teaching and learning.

Environmental laboratory equipment and specialist computer software will be purchased for the training development and delivery. UEL, alongside the project academic and research collaborators, will hold annual international conferences to disseminate the project deliverables and outcomes meanwhile grow a network of researchers, academics and professionals within the area of sustainable development of the built environment.

Building Capacity for Sustainable Development of the Built Environment (BC-SDBE)

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British Council Newton Fund

VENICE BIENNALE

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Carlo Cappai and Maria Alessandra Segantini, UEL, C+S Architects invited to exhibit at the 15th Venice Architecture Biennale The 2016 edition of the Venice Architecture Biennale, entitled Reporting from the Front, was curated by Chilean architect Alejandro Aravena, recipient of the 2016 Pritzker Prize, and will focus on “sharing with a broader audience, the work of people who are scrutinizing the horizon looking for new fields of action, facing issues like segregation, inequalities, peripheries, pollution,(...) informality (...) and the participation of communities.”

the center in an effort that has the power of simple stability yet looking endless.

eduCARE C+S Architects’ participation, entitled eduCARE, will be exhibited in the Corderie of the Arsenale and will revolve around school buildings, a series of unconventionally re-designed nodes of the city of the sprawl.

We design a volume built through a multiplicity of small steel pieces, weld together to generate a self-supporting suspended element without any need of vertical supports. The steel pieces adapt, some of them are visible, others aren’t, but all are fundamental to balance the tensions. Like people, their time, knowledge and skills concur to move to a new possible circular economic model more balanced with our planet. We engage with this energy while designing our schools.

The installation, Aequilibrium, combines a red passerelle floating in the air on a cork carpet printed with the projects of the schools. Those projects have become one big story of the potentials of these small buildings within cities and the challenges of shaping a society in transition.

Aequilibrium Equilibrium is a state in which opposing forces or influences are balanced. A state of physical balance; A calm state of mind; in chemistry: A state in which a process and its reverse are occurring at equal rates so that no overall change is taking place; in economics: a situation in which supply and demand are matched. Equilibrium is that of the ‘house of cards’, of the tightrope walker, of the proportion of a classical column or of a statue, of the sailing boat travelling not upwind or lee.

The genius factor of this word is the capacity of describing balance through instability; just like the magical city in which we were born, Venice. We design a structure which finds balance throughout overhanging; alternating from side to side, rebounding tensions and bringing them back to

We design a suspended structure, wrapping around the historic column of the Corderie dell’Arsenale in Venice. It holds together memory and a new horizon, moving the spectator’s viewpoint, allowing him/her to climb up without slipping, to sit and also lay on a cork carpet.

We design a knot. Questioning the conventional processes to designing a school, we tie together all resources at disposal: economic, human, social, energetic; proposing a new, more balanced model to fight inequalities.

We design a toy. Like our schools with their public spaces opened after school hours, spaces are created for interaction and play for the multicultural and multiethnic communities around them.

We design a perpetual path. There is an entrancethe child entering the community through schools and continuing to feed that community perpetually.

We design it red. A coloured node in the grey city of the sprawl.

LONDON’S HOUSING CRISIS AND ITS ACTIVISMS

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Conference led by UEL and Birkbeck. Anna Minton, Reader in Architecture in UEL in collaboration with Paul Watt, Reader in Urban Studies at Birkbeck organised a one-day intensive conference on the much debated topic of ‘London’s Housing Crisis and its Activisms’.

An on-going research project by Dinah Bornat (MArch Unit 4). The study ‘Housing Design, Play and Community Life’ is an ongoing project, funded by the Homes and Communities Agency and funded by NHBC, ZCD Architects, University of East London, Levitt Bernstein and the Hargrave Foundation.

In our practice, ZCD Architects, and at the University of East London, we are seeking an evidence-based approach to understanding how people use external spaces in residential areas to better inform our approach to housing design. We began in 2014 with an assessment of six 20th-century estates in Hackney, carried out by students at UEL, and followed this with a broader study of ten recent schemes across England.

Through the knowledge we have gained with these studies we have developed a spatial ranking system that appears to match the findings of the observational studies – spaces that are well used and support unaccompanied use by children and extended use by the community are ones that have direct access from dwellings, are distributed within the scheme, rather than on the edge, and in the best cases form a network across the neighbourhood.

We visualise these rankings with a series of maps, which we are developing to better plan and predict how external spaces may be used and how best they can contribute to the community as a whole.

We are suggesting that more needs to be done than just applying shared surfaces and home zones and that, at least in the UK, the street on its own cannot provide a safe enough environment to support independent access and play for children.

Our work in this area has lead us to discussions with developers, local authorities and housing associations, who want to look at both their existing and new estates. We hope we can use it explain the underused and forgotten spaces that are subject to misuse and to support regeneration objectives.

We are keen to pilot more studies and to test and consolidate the research through feeding into more Post Occupancy Evaluation studies, interviews with residents and consultation exercises.

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HOUSING DESIGN, PLAY AND COMMUNITY LIFE

ANTHROPOCENE Exhibition

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Art and Architecture+Design members of staff exhibited their projects on this year’s theme ‘Anthropocene’, on April 20th — 29th in the AVA Gallery.

‘Anthropocene’ working definition: The proposed current geological epoch, in which geological, atmospheric, and hydrologic change is predicated by the actions of man, rather than by natural processes.

The curatorial team comprised Pete Cobb and Dr Garry Doherty from Art & Design, and from Architecture Christian Groothuizen, programme leader for BSc, and Dr Harald Trapp, programme leader for MArch and co-curator of the Austrian Pavilion at the Venice Biennale 2014.

The following images include also work of: Isaie Bloch, Hwei Fan Liang, Lewis Jones, Adam Willis, Gilles Retsin, Bridget Snaith and Isaac Cobo Displas.

Clockwise from top left: Dr Harald Trapp, Christian Groothuizen, Hwei Fan Liang, Isaie Bloch.

P19 RESEARCH – PROJECTS – AWARDS – CONFERENCES Top row: Bridget Snaith, Above: Objects from the collection of Mark Hayduk

BLUE STAIRCASE

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by Rashid Ali

“The project is a complete internal redesign of a newly built house in central London. The main idea is to create an open plan ground floor, containing living room, study and a kitchen and dining area. Sitting in the centre, and running through the house from basement to first floor is a steel ‘sculpture’ that is the stairs. It sits on the ground floor as a separate element and is wrapped with shelving towards the study and fins that penetrate the ceiling towards the first floor. This colourful screen gives the ‘sculpture’ a distinctive character of its own, while maintaining a degree of visual permeability between the dining area and the living space. The other rooms in the house also have an atmosphere of their own with bespoke colours, fabrics, tiles and spray lacquered veneer treatments to walls, floors and ceilings. The changing room in basement receives natural light through glass floor panels adjacent to the rear glass

doors at ground floor and the master bedroom is lit by an external light well that works as a patio.”

Rashid Ali This project designed by Rashid Ali - Architect, and Program Leader of the BA in Interior Design in UEL - has been broadly showcased in the UK and abroad; in DeZeen, Architectural Digest, InsideOut, M House magazines, amongst other international publications.

Architecture, Culture and Heritage - A design and research agenda at the UEL. Considering that heritage represents 70% of the profession’s workload, we understand cultural heritage, transformation and restoration as integral components of the design practice. Interest focuses in the cultural, site-specific and material aspects of contexts and more broadly in socio-political, economic and climatic influences. The historical dimension is for us a challenging and inspiring resource, driving a sharpening, sophisticated and potential effect on contemporary design in architecture.

Carlo Cappai, Alan Chandler and Maria Alessandra Segantini work on this research in collaboration with the Soprintendenza Regionale del Veneto, led

by Renata Codello (Italian Ministry of Culture) to generate a series of guidelines for the regeneration of the Riviera del Brenta in Italy, a territory punctuated by some of the most important Venetian Villas, which are presently under pressure due to the recent financial as well as environmental crisis.

The research is linked to teaching of the MArch studio of Cappai and Segantini - C+S Architects - which aims to evaluate and question the whole design process, through the development of a series of design strategies at different scales, in complex stratified urban landscapes; to create and suggest programs, as well as possible clients; to evaluate the potential of each site with a strong interdisciplinary mapping of the proposed contexts: climate, budget, social and economic perspectives, materiality, topography, history, socio-political expectations, to name some; to acquire an open-ended perspective of the design output, with the character of the non-finished, in the aim to allow further future interventions.

A parallel theory module is taught in collaboration

by Chandler and Segantini who, through a series of lecture, touch the main topics of Histories and Historiographies.

Literature and history reviews, relating to the physical changes within the area of study: The Politics of Heritage intended as the Methodology for Heritage and Conservation and challenges for re-generation; The Soft-Tech Challenge as a Methodology of technological adaptation and lowimpact technologies to plug in the environment as challenges for re-generation; The Politics of land use in the urban realm as aspects of economic potentials, ownership and surveillance in the definition and management of public, quasi-public and private space within the specific case-study and the Politics of ‘Community’, meant as the manufacture of ‘communities’ within the process of regeneration.

Both the theory and practice module aim to provide students with a methodology and a set of knowledge to map the contexts and develop a series of design strategies at different scales in complex, stratified urban landscapes, enabling them to understand and communicate the relationships between the physical features as well as the social, economic, political forces and policies acting in one specific urban casestudy and the responsibility of the design actions to activate processes of ‘urban regeneration’ in the respect of the identity of the places.

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INTERNATIONAL RESEARCH COLLABORATION

CITY OF PLAY

British Council Doha Design Prize

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UEL Lecturer Alex Scott-Whitby and his practice ScottWhitbystudio won the Unlimited Doha Design Prize in April 2016.

The design residency and competition was organised by the British Council and offered a unique opportunity for architects and designers based in the UK to collaborate with counterparts from across the Gulf region around the theme of ‘The Open City’. During the residency 21 participants (including Rashid Ali, course leader of interior design at UEL) worked in four teams, each of which combined UK and Gulf participants, to develop new ideas and innovative design solutions to help improve the experience of movement and accessibility within Doha and other cities in the Gulf.

The studio worked with a diverse team - an archaeologist and architect from Turkey (Omer Can Aksoy and Gizem Kahraman) as well as a Palestinian architect (Deena Al Terawi) to develop ‘City of Play’ a project proposing that the Qatar FIFA cup in 2022 should kick off a new city of Doha that united play on the streets.

The project presented a vision for education, family life and civic space as an integrated heart of the city, creating a chain of street and public space transformations that could humanise and revitalise the historic fabric to achieve an inclusive, accessible re-birth of a much-loved part of Doha.

“This competition win in Doha offers a multitude of opportunities for potential collaboration between institutions in Doha and UEL students. We look forward to continuing this rich dialogue about the development of spaces in Doha and the cities beyond.”

Alex Scott-Whitby, ScottWhitbystudio

founding

director

of

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“The winning team took the future Qatari World Cup tournament as it’s starting point and placed a focus on ‘play’ in their proposal. Utilising the team’s diverse skill set, which included archaeology alongside architecture, they proposed a concept for a contemporary city that builds upon the best of it’s past, in order to cater for the future of new urban communities. The project presents a vision for education and family life at the heart of the city. By creating a chain of street and public space transformations, the proposal seeks to humanise and revitalise the city’s historic fabric; to achieve an inclusive, accessible re-birth of a much-loved part of Doha.”

The British Council

THE MEMORY OF SURFACES Installation at the Courtauld Biennial

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Alan Chandler was invited to participate in the Courtauld contemporary art biennial in 2016 – showing work alongside Edmund DeWaal, Tracey Emin, Anthony Gormley and Rachel Whiteread.

Chandler lectured at the Courtauld on the ideas behind the installation, and participated in a panel debate on the nature of reality in art.

In collaboration with Gilles Retsin and the students of Unit 6, a second intervention in the café was developed, exploring the traces of occupation that can inform a new awareness of the present.

The projects discuss two forms of reality: ‘the constructed and the revealed’. Both give a new shape to the reality we call ‘everyday’, revealing the legacy of inhabitation through the physical depth of the surfaces that defines the spaces of the Courtauld itself, and through reconstructing the shape of the space itself.

The installation oscillates between the scientific reality of Howard’s painstaking conservation based stratigraphy and a fictionalized re-presentation of that knowledge through the use of historic colour windows placed at key locations within the East Wing.

Supplementing this criteria are actual excavations which in one of the locations provides an actual description of the colour layers. This fusion of actual and speculative responds to ‘Artificial Realities’, giving both real and fictionalized access to two centuries of inhabitation.

‘Artificial Realities’ is being shown at the Coutauld Biennial between 30 January 2016 and 30 May 2017.

DESIGN MUSEUM EXHIBITION GROW YOUR OWN BIKE

The unique bike-making event – the ‘Future Bike Live Challenge’ – took place at London’s Design Museum on April 9-10 as part of the museum’s Cycle Revolution exhibition.

The event was a joint initiative by bike-makers Bamboo Bicycle Club, Studio Bark architects,

who include three UEL architecture graduates, and current UEL architecture students. It is understood to be the first time such a live bike-making ‘show’ has ever been attempted.

Bamboo Bicycle Club have been pushing the boundaries of 3D printing technology to radically improve custom bicycle design. Against the backdrop of the Design Museum’s Cycle Revolution Exhibition, this free, live event showcased the results of this collaboration, providing a glimpse into the bicycle workshop of the future.

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Architects trained by the University of East London, bicycle designers and current UEL students combined 3D print technology with bamboo sourced from the Eden Project to design and produce a bamboo road bicycle – all in front of a live audience.

LIVE PROJECTS

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The term ‘Building’ is a noun/verb duality - as a noun it is objective, at one remove, a distancing device by which we classify structures with walls and roofs.

As a verb, ‘Building’ is the actual act of construction, the making of the reality of an enclosure. The thing itself.

Architecture is about building, but what do we mean by ‘building’ and what ‘building’ do we mean?

Architecture is an academic enterprise, we don’t “learn on the job” any more, and the RIBA Criteria defines and is defined by such academicisation when it uses terms such as ‘understanding of’, ‘knowledge of’ and ‘conceptualisation’. Words that imply the head, not the hand, prescribe our validity, and the definition of attributes rather than means has two effects on learning about ‘Building’: 1. Architectural education prioritises the intellectual construction of words that name and fix our intentions, rather than physical construction that demonstrates our intentions materially. Maintaining intellectual control is an academic necessity, yet such attenuation of variety (Stafford Beer 1974) empties ‘Building’ of its inherent complexity (use, cost, technique, performance, teamwork), emphasising building as ‘noun’.

2. Pedagogic pluralism is embraced, but with contemporary academia operating a dirty compromise between ideology and funding, plurality becomes the RIBA’s safety-net that accommodates schools under pressure to teach cheap. ‘Building’ (as verb) requires the time, organisation, participation, intuition and risk that schools seemingly cannot afford (Christopher Alexander 1985).

At UEL we believe we have to go beyond the variety attenuation of ‘academic’ teaching, so over the last decade we have articulated ways to do this. Live Projects in the University of East London construction programme illustrate the process of building (verb) within an academic setting, focussing on how a tactical use of control and variety can redefine institutional limitations, and demonstrate that the reality of building can only be experienced by building reality.

Our skills base in making, manufacturing and construction begins in Year 1 of the BSc, developing spatial and material awareness through fabrication – testing ideas at 1:1 in public arenas such as the Lea Valley, Trinity Buoy Wharf and Ecobuild establishes in the minds of the students that architecture is a public art, but with liabilities and responsibilities. Design teaching frequently draws on making to reinforce the integrated nature of designing and building, with MUF and Assemble as established analogue makers, Gilles Retsin and Isaie Bloch utilizing computational tools and robotic manufacture to realise the same goals.

Our projects engage students in one of three types of project: Research – developing a given research brief into a prototype directly relevant to a task, problem or development of new knowledge – latterly working with Thomas Heatherwick to develop a fabric formwork system for casting a 325,000sqm project in Shanghai.

Consultancy – work on an exhibition stand for the Bamboo bicycle Company at the Design Museum and building sustainable houses, workshops and studios for clients with our practice partner Studio Bark allows students to learn site and safety skills whilst delivering real projects before, rather than after graduation. We have also worked with schools, NGO’s, and NHS trusts, and latterly the property developers First Base at the Silvertown redevelopments around the Millennium Mills.

Community – working with both London community groups and the London Borough of Newham to deliver community infrastructure projects including small buildings, playscapes and public consultation events.

Live projects are not optional, they are inherently part of the learning fabric of our school. Building for people allows students to see beyond images to understand that building is a responsibility, that our work gives shape to social spaces that benefit people, and that the public dimension of their education is critical to their own development as professionals.

Alan Chandler

Holloway Lightbox (top) Wood Street Plaza (bellow)

PARALLELISM IN ARCHITECTURE AND COMPUTING TECHNIQUES

P28 RESEARCH – PROJECTS – AWARDS – CONFERENCES

Forthcoming International Conference

The forthcoming international conference on Parallelism in Architecture and Computing Techniques (PACT) 2016 explores the relations between computational design software in architecture, organizational and global, everchanging and pervasive contexts. PACT 2016 is organized by The University of East London (UEL), in collaboration with the International Experts for Research Enrichment and Knowledge Exchange (IEREK) institution. The conference represents an important forum for computational and digital architecture research that reconciles parallelism in different architectural and computing discourses, and provokes discussion in current themes and topics such as high performance computing, big data, advanced systems and interfaces, ubiquitous computing, as well as advanced fabrication technologies and tectonics.

The Conference is directed by Gilles Retsin and Prof Hassan Abdalla and will be held in UEL, 12-14 September 2016.

PARAMETRIC MATERIALISM

The eighth International ASCAAD conference is organised by SOAS University of London, in collaboration with the UEL, Robert Gordon University and Effat University.

This year’s theme addresses the cross over between the notion of the technological and the environmental; the ever-increasing speed of technological advancements and the concern about the environmental performance of buildings are becoming further interlinked.

“Nowadays, the use of the word ‘architecture’ is subsiding in favour of the ‘Built Environment’, which is automatically recognised as a subset of the ‘Environment’. By replacing or redefining the term ‘architecture’ by the term ‘built environment’ the discourse becomes purposefully and intentionally more inclusive of the different aspects of our ‘Beingin-the world’. In conjunction, our everyday ‘Being-inthe-World’ is critically influencing the environment.

We note two recent outcomes that addressed this, namely, the Sustainable Development Goals (SDGs) set out by the United Nations, and the Climate Change Summit recently held in Paris. In recognition of the role of Computer Applications in Architecture (CAAD), we tie our conference theme to the ongoing exploration into ways to combat climate change, through optimised environmental performance of buildings, sustainable use of materials and

resources, and the resulting underlying development through enhancing the living conditions, with minimal impact on the environment.ASCAAD 8th conference theme builds on previous themes and extends them. We previously examined two particular metaphors. The first metaphor addressed aspects of virtual environments that resemble our physical world; In other words, it examined how a computer model can be ‘read’; or interpreted as a physical model - how attributes of the physical world are assigned or projected upon the digital - and the reverse. In this conference, we would like to extend the exploration into aspects of virtual environments and their resemblance to physical environments by looking at the aspect of ‘performance’: the way in which environments are sensed, measured, tracked and visualised. Moreover, we reflect on matters and materiality in both virtual and physical space philosophically, theoretically, practically and reflectively. The second metaphor looked into the modes and means of interaction between our bodies and virtual environments. Here we extend the investigation to look into the ways in which environmental performance influences human interaction in real environments.”

The Conference Committee - Dr Aghlab AlAttili (SOAS University of London), Dr Anastasia Karandinou (UEL), Dr Ben Daley (SOAS University of London)

P29 RESEARCH – PROJECTS – AWARDS – CONFERENCES

Forthcoming International Conference co-organised by UEL

OPEN JURY

Open Jury

Open Jury

The event was organised in such a way that each Unit or Group presented their ongoing work to an invited panel of guests in their own studio space.

As such, it was both a two day ‘mid-term exhibition’ and a vital platform for discussion about academic work in architecture.

Furthermore, invited guest lecturers gave a series of lunchtime and evening lectures. On Thursday 4th February 2016, the UEL tutor Alex Scott-Whitby talked about ‘A Period of Transition’, as architecture and the life of an architectural practice is transitional.

The lecture focused on a range of recent projects from Scott Whitby Studio. The studio is located in London and works locally as well as internationally on small and large scale projects. In the evening, the UEL Degree Unit F tutors Adam Willis and Lewis Jones showed a range of work from their practice Assemble with a focus on this year’s Turner Prize

winning project. Assemble are a collective based in London who work across the fields of art, architecture and design. Assemble is located in East London and works locally as well as across the UK. On Friday 5th February 2016, the UEL tutor Dinah Bornat talked about ‘Housing Design and Community Life’.

The lecture focused on studies of external spaces on ten housing schemes across England and why it might change the way we all design. Dinah Bornat presented further research that expanded on work done in the MArch Unit 4, last academic year.

Invited Guests: Raymond Higgins, Heidi Moxon, David Gloster, Simon Tucker, Cathy Hawley, Steve Webb, Russell Potter, Alex Nikjoo, Jayden Ali, Mike Levey, Katherine Clarke, Russell Curtis, Noora Kassinen, Nic Pople, Amy Frearson, Berta Sanchez Velar, Barnaby Johnston, Ray Emery, Anna Minton, Maria Alessandra Segantini, Laura Mark, Félicie Krikler, Nick Willson, Noora Kassinen, Tony Fretton, Patrick Ueberbacher, Christoph Hadrys and Claude St Arroman.

Open Jury

P31 OPEN JURY

Our unique opportunity for visitors, fellow staff and students to see work in progress and share the diversity of architecture at UEL. Like every year, we had the Open Jury and Lectures in the AVA Building, in the beginning of February. The two day event welcomed invited guests, all students, members of staff and people who were interested in our architectural studies.

ARCHITECTURE SOCIETY LECTURE SERIES

Open Jury Lecture

Architecture Society Lecture Series

26.01.16 Amanda Callaghan aLL Design Problem Solving?

20.10.15 Charles Lawrence Materials in Architecture: ‘A Leap of Faith’

02.02.16 Jane Wernick Collaborations

01.12.15 James Todd Architype Do it yourself? Segal House to Passive House 08.12.15 Graeme Sutherland Adams and Sutherland Urban Landscape 12.01.16 Elaine Toogood The Concrete Centre Creative Concrete 19.01.16 Paul Karakusevic Karakusevic and Carson Designing for councils and their communities

04.02.16 Open Jury Lecture Alex Scott-Whitby A Period of Transition Assemble Collective Practice 05.02.16 Open Jury Lecture Dinah Bornat Housing Design and Community Life 09.02.16 Rashid Ali Multi-scalar Ideas 16.02.16 Will Alsop Something old, something new, something borrowed, something blue

23.02.16 Owen Hatherley Building Nostalgia: Austerity, Moderism and Politesse in contemporary London 01.02.16 Gary Tidmarsh Levitt Bernstein Practice and Implementation 08.02.16 Paul Monaghan Allford Hall Monaghan Morris Burntwood School 15.02.16 Sarah Wigglesworth SWA Narratives of self-determination

P33 ARCHITECTURE SOCIETY LECTURE SERIES

13.10.15 Yeoryia Manolopoulou AY Architects Design Thought and Process

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P35  ARCHITECTURE SOCIETY LECTURE SERIES

STO FOUNDATION INTERNATIONAL LECTURE SERIES

November STO International Lecture series launched at UEL Architecture The International lecture series sponsored by StoStiffung simultaneously happening in Stuttgart, Milan, Paris, Graz and Prague, landed this year at UEL in London, under the curatorial work of Maria Alessandra Segantini. UEL Architecture was chosen for its capacity of addressing teaching and research in the Production of Places, where climatic, economic, heritage constraints and civic engagement are contemporary urgencies, which we turn into opportunities.

As the curator of the 2015 series, Segantini addressed and discussed the question of public space in our complex information age. Lecturers have been chosen for their capacity of tacking the nodes of a profession, that of the architect, which is presently undergoing a series of radical changes and where all the different stakeholders involved in the processes of design, construction and final users are asked to sit together around a table and redefine the processes for city making.

Freek Pesyn of the Belgian architecture office 51N4E and Alejandro Aravena of Chilean office Elemental have worked successfully in very specific ways to make the process of design an open-end source, where people and users are sitting around the decisional tables. Alejandro Aravena, the director of Elemental is the curator of the 15th Architecture Biennale 2016 and Pritker Prize 2016.

He has discussed with Segantini how architecture can tackle the urgencies of our contemporary age in front of a plethora of students and tutors. Nieto & Sobejano and Nadaaa are extremely interesting in the manipulation of new technologies and data on the side of construction, without forgetting though that each topic of investigation is finally serving people and their ways of using the public realm.

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STO Foundation International Lecture Series

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FIELD TRIPS

Year One field trip to Rome

Interior Design trip to Berlin

P44  SUMMER SCHOOL PROGRAMMES

Ten days, an actor, a psychologist, a storyteller, the community of Markfield, who need a better home.

Designing Empathy

A SUMMER SCHOOL 14—22 JULY 2016 LONDON

What has EMPATHY to do with architecture?

Can a building full of children help us find out?

Join to gain new research and brief making skills, and apply them to a concrete design challenge.

The course is tailored towards students of spatial design and related disciplines. Participation is free, please send a short paragraph on Why you would like to get involved. mark@muf.co.uk designingempathy.wordpress.com

P45  SUMMER SCHOOL PROGRAMMES

How to design a process that makes SPACE for others?

FOUNDATION Architecture and Design Keita Tajima Programme Leader

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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, Takuro Hoshino, Catherine Phillips and Bruce Irwin

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 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.

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.

The first half of the year consists of a series of short projects that provide an introduction to the wide range of skills and creative inspirations. Full scale freehand drawing, orthogonal drawing, various model making techniques, printing and photography are the main learning outcomes at this stage.

The main project in the second half of the year is focused on a design project through which students apply and test the various skills and knowledge that they have learned previously through a design process.

FLORENCE ITALY

2015 - 2016 We started the year by exploring the relationship between a body and space in rigorous documentation, experimental full scale drawings and paintings. 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. Students have further investigated these issues through furniture projects and site observations.

The main project was set in Dalston Eastern Curve Garden in East London. Students visited to the garden several times to observe, survey and meet people in the garden in order to generate the idea for an inhabitable room for the community and visitors.

On the course of the design process, students developed and tested through collages, series of different scale models and drawings. Student projects were presented to the Dalston Curved Garden community at the final crit.

Field trip The trip to Florence was intended to provide a brief yet rich introduction to the art and architecture.

Students spent four days absorbing the culture of art and architecture ranging from medieval, to the Renaissance period and the contemporary.

Visiting Crits: Carsten Jungfer, Kristina Hertel Special thanks to: Christoph Hadrys, Carl Callaghan, Ivana Sehic, Lara Tonnicchi (Archea Associati)

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Students: Helen Adefioye, Alan Alaviwaly, Joseph Olufemi Akinyosoye, Hatice Aslan, Oliver Brown, Patrycia Butrym, Whitney Green, Mohamed Lyes Hamdi, Omar Harrak, Yasin Hussein, Tholl Xander Inciong, Mustafa Kisa, Immanuel Kisakye, Lukas Klibavicius, Shahzeb Mazhar, Tasnima Miah, Athman Mohamed, Gloire Nkouka, Ahmed Omar, Kwan Dodangodagam Ranasinghe, Raphael Robinson, Ibrahim Sabrah, Adel Salim, Derya Sasmaz, Lisstte Shaw, Ioana Marina Talpos, Seher Tanak

P50 FOUNDATION

Study of a movement of body and space: f.1 Students presented their first full scale body devices f.2 Recording the motion of steps, group work f.3 A drawing of the painting device for legs f.4 Recording of a sequence of walking, group work f.5 Recording of walking motion f.6 A painting device in use f.7 Solid and Void: Cube casting and soldering the wire, Ibrahim Sabrah, Helen Adefioye f.8 Dissecting process of the cube, Tholl Xander Inciong f.9 Wire cube model, Ioana Talpos f.10 The casting process showing the mould, Ioana Talpos f.11 Drawing the process of transforming the cube, Tholl Xander Inciong f.12 The composition of cube and the colour, Helen Adefioye f.13 The composition of cube and the colour, Lissette Shaw

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Observations: f.14 Students trip to Florence, Italy: Antinoli winery visit f.15 Students trip to Florence, Italy: Sketching in Basilica di San Lorenzo f.16 Students trip to Florence : Ciesa di Autostrada by Giovanni Michelucci f.17 Observing the cafe in Dalston Eastern Curve Garden, Tholl Xander Inciong f.18 Mapping of existing paths and edges, Tholl Xander Inciong f.19 Bricolage work for proposed rain harvesting space in Dalston Eastern Curve Garden, Ibrahim Sabrah f.20 Mono print workshop f.21 Plaster relief making, Mustafa Kisa f.22 The paper model for a proposed room in Dalston Eastern Curve Garden f.23 Development of furniture prototype to a room, Tasnima Mia f.24 Bent- ply development model, Ioana Talpos f.25 Mono Printing workshop f.26 Perspective sketch for the internal view of kid play space, Omar Harrak f.27 Full scale mock up for stacking chair space, Yasin Hussein

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A room for Dalston Eastern Curve Garden: f.28 Miniaturising space, Sharzeb Mazhar f.29 Proposed new covered passage for Dalston Eastern Curve by stacking recycling chair, collage, Yasin Hussein f.30 Proposed sound room, Lissette Shaw f.31 A room for transition, Tholl Xander Inciong f.32 Garden sound room model top view showing the sequence, Lissette Shaw f.33 The elevated garden room, Ioana Talpos f.34 Urban light well to connect the garden to Dalston Junction overground station beneath, Alan Alavi Waly

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P55 FOUNDATION

ARCHITECTURE ARB/RIBA Part 1 and 2 BSc (Hons) Architecture (ARB/RIBA Part 1) Programme Leader: Christian Groothuizen MArch Architecture (ARB/RIBA Part 2) Programme Leader: Dr Harald Trapp History & Theory teaching staff: Dr RenĂŠe Tobe Christoph Hadrys (urban design) Miho Nakagawa Stylianos Giamarelos Claude Saint Arroman Giles Omezi Vanessa Vanden Berghe Alfonso Senatore (sustainability) Gilles Retsin (computation) Dr Bridget Snaith (landscape) Alan Chandler (heritage) Maria Segantini (heritage) Dr Doug Spencer (theory) Technical Studies teaching staff: Dr Alexander Veal Michele Roelofsma Hwei Fan Liang Step Haiselden Christian Groothuizen Alan Chandler Wilf Meynell Pell Frischmann

Computing & Representation teaching staff: Janet Insull Nenad Djordevic Isaac Cobo Displas Sibyl Trigg Professional Studies teaching staff: Paolo Vimercati Guests and thanks: Andrew Waugh (Waugh Thistleton Architects), Anna Schabel (Wilton Studio), Chris Stobbart (Engineers HRW), Daria Wong (DWArchitects), Elyse Howell-Price (Grimshaw Architects), Euan Russel (Grimshaw Architects), Liam Morrisey (what if: projects), Roland Karthaus (Karthaus Design), Steve Webb (Webb Yates Engineers), Toshiya Kogawa (ART Architects), Ty Tikari (Tikari Works)

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 unit-based design proposals. Our hands-on approach to a poetic materiality is characterised by exploratory model-making 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, economical 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 socio-political contexts, grounding the design work and the critical task of detailing to make tangible connections to wider architectural ideas. The professional Architecture 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.

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Through the professionally accredited Part 1 and Part 2 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. The design units operate as autonomous research teams and consist of two tutors and between 16 to 20 students. Supporting the design units is a framework of teaching in essential technical, theoretical, regulatory and practical knowledge that enables a fully integrated design process. Students must construct with both materials and ideas, and in final year BSc and MArch are expected to develop their design proposals as a personal thesis.

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

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BSc (Hons) Architecture (ARB/RIBA Part 1)

FIRST YEAR

Extension and Framework Kristina Hertel (First Year Coordinator), Raphael Lee, Reem Charif, Toshiya Kogawa, Michele Roelofsma, Charlotte Harris, Phoebe Gresford, Sibyl Trigg, Colin O’Sullivan, Renee Tobe, Alexander Veal, Janet Insull, Nenad Djordjevic

The First Year Architecture programme spans from designing at the scale of the body to the scale of the city. This year’s building projects are set around the theme of ‘Extension and Framework’. Our main propositions were sited in De Beauvoir Town and the environs of the Regents Canal in Hackney. Students also made a small design for urban spaces in the old centre of Barcelona.

At the start of the year we encouraged spatial discourse through a furniture scale group project, asking students to design a ‘Framework’, with a defined theme, that was to be made and tested at full scale on site. The structures were designed to programmatically extend an existing building on the North East edge of the De Beauvoir Estate. The Rose Lipman Building was the former De Beauvoir Estate Library, and home of Hackney Archives, and is now managed by the Mill Co Project as a building for community and the arts. It is creatively used by artists, different local groups and the general public, and contains workshops, studios, a gallery and multifunctional spaces.

We travelled to Barcelona, to study specific buildings and public spaces, and produced a manual on ‘Framework and Skin’. On our return students developed proposals, in the form of a small lightweight building that engaged with the activities and spatial conditions of one of the urban squares.

DE BEAUVOIR, HACKNEY, LONDON

Returning to our site in De Beauvoir, Hackney, the main project of the year aimed to generate proposals for the future growth and development of the Mill Co initiative and the De Beauvoir community, on a site next to the Regents Canal, south of the De Beauvoir Estate. The brief was to design a ‘Building on a Square’, and develop an architecture connected to an exterior space (‘square’), relating the public and the community with its interior use. Students proposals were inspired by the scale and physical qualities of De Beauvoir Town and borrowed conditions from the Barcelona studies, to extend the programme of the Rose Lipman building and activities of the immediate site.

Visiting Crits: Yasar Shah, Carl Callaghan, Albane Duvillier, Renee Tobe, Rob Pyecroft, Sharone Lifschitz, Andrew Simpson, Tony Fretton, Patrick Ueberbacher, Keita Tajima, Gemma Drake , Andrew Rowson Special thanks to: Nicholas Hartwright and Claire Martin from The MillCo Project, Andrew Simpson, Christoph Hadrys

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P61  DEGREE Y1 FIRST YEAR

Students: Abu Abdul Mahzar, Soma Ahmad, Sankalpa Ale, Kiesse Andre, Joshua Bayne-Browne, Muhammad Naim Bin Ariffin, Nelton Bordonhos Barbosa, Defne Bozdogan, Fouleymata Coulibaly Farhad, Cristian Deiana, Angelle Dimech, Alford Dyett, Alaa Elzein, Adam Emmerson, Khamiel Fletcher-Lord, Luke Fowler, Marianne Gallagher, Abdulaziz Ghbaya, Sarbast Gli, Sebastian Gudge, Dilara Gul, Nazifa Islam, Lohanna Januth, Vikrant Jayendrakumar Panchasara, Daniel Kiss, Bibblav Limbu, Yen Chie Miaw, Jason Mirfin, Legend Morgan, Dalcimaira Nunes Cardoso, Elizabeth Olowu, Jamie Osborne, Makinde Otesanya, Stephen Owen, Mohammed Patel, Harry Phillips, Sajat Rai, Ilkem Sahin, Rebecca Sherpunja, Jake Silvey, Zohaib Tasawer, Fatih Tokuc.

P62 DEGREE Y1 FIRST YEAR

Extending the Rose Lipman Building. 1:1 scale, themed ‘Market Stalls’, engaging communal spaces around the Rose Lipman Building. fy.00 Previous page: Setting up frameworks on site in De Beauvoir. fy.01 First Year at the Open Jury, 04.02.2016. fy.02 Testing the 1:1 structures on site, photo Nazifa Islam. fy.03 Sketch model of ‘Newsstand’, Cristian Deiana. fy.04 Sketches for ‘Newsstand’, Cristian Deiana. fy.05 Testing ‘Newsstand’ on site in various locations around the Rose Lipman Building, photo Cristian Deiana. fy.06 Installing ‘Playspace’ on site, photo Marianne Gallagher. fy.07 Testing ‘Newsstand’ on site, photo Cristian Deiana. fy.08 Motion study of ‘Playspace’, Marianne Gallagher. fy.09 Plan and elevation of ‘Allotment’, Jake Silvey. fy.10 Plan + detail drawing, and motion study of ‘Playspace’, Marianne Gallagher.

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Field trip Barcelona. Studying and borrowing existing spatial conditions, and developing proposals for a series of public squares in the historic centre of Barcelona: fy.11 Collage, Daniel Kiss. fy.12 Borrowed condition model, overlayed onto chosen site, Jamie Osborne. fy.13 Proposal + idea studies, Jamie Osborne. fy.14 Mirroring maket roof model, Marianne Gallagher. fy.15 ’Skin’ study, Cristian Deiana. fy.16 Study of geometry of ‘skin’, Cristian Deiana. fy.17 Proposal collage of ‘Extended space’, Jamie Osborne. fy.18 Proposal axonometric drawing of ‘Extended space’, Harry Phillips. fy.19 Inventory, Palau Guell study, Legend Morgan. fy.20 Proposal model, light study, Jamie Osborne.

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‘Building on a Square’: Proposals for De Beauvoir Road / Regents Canal site. Programmatic extention of the Rose Lipman Building: fy.21 Proposal for a gallery and teaching spaces, and workshop spaces, Kiesse Andre. fy.22 Regents Canal, photo Luke Fowler. fy.23 Market hall overhanging Regents Canal, Jamie Osborne. fy.24 Proposal model, Jamie Osborne. fy.25 Study model for bicycle bridge over Regents Canal, Fouleymata Coulibaly Farhad. fy.26 Proposal for a communal greenhouse space, Nelton Bordonhos Barbosa. fy.27 Section and elevation sketches of graffity warehouse and gallery, Marianne Gallagher. fy.28 Axonometric drawing of timber structure and brick wall, proposal for a gallery, Harry Phillips. fy.29 Proposal section, Harry Phillips.

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Technical Studies, Computing and Representation studies support and feed projects undertaken in Design Studio. Structured around a broad program of technical and theoretical lectures and practial exercises, such as surveying, lasercutting, and concrete testing in technical labs, that tie in with computational exercises and learning throughout the entire year. fy.30 Environmental analysis, Nelton Bordonhos Barbosa. fy.31 Weald and Downland technical study, Harry Phillips. fy.32 Barcelona Pavillion, Harry Phillips. fy.33 Technical drawing De Beauvoir proposal, Nelton Bordonhos Barbosa. fy.34 Process poster plywood project, Abu Abdul Mahzar. fy.35 Photoshop collage, Plywood form in Barcelona site, Cristian Deiana. fy.36 Charcoal drawing of plywood space, Abu Abdul Mahzar. fy.37 Descriptive geometry, Daniel Kiss. fy.38 Inhabited scection of De Beauvoir proposal, Jamie Osborne.

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UNIT A

Tottenham Archipelago Carsten Jungfer, Fernanda Palmieri

Unit A is interested in the morphology of the city by investigating relationships between space, programme, materiality and time. With a focus on reading spatial conditions through careful analysis of found ‘urban moments’ we set out to get a better understanding of the city as a place of continual transition. Unit A engages in domains between architecture and urbanism and is interested in multiscalar and adaptive design strategies.

With a focus on East London we are interested in processes of urban fragmentation that occurs as side-effect of infrastructural development, which continues to transform London’s urban and architectural landscape. This year we set out to investigate a network of water landscapes in the Upper Lea valley, that run along the eastern edge of Tottenham. These man-made landscapes continue to adapt to and serve London in close relation to changing demands of the ever growing population; from historic pastures for agricultural production to the waterways of the early industrialisation, over to facilitating wastewater and sewage treatment and reservoirs providing up to a quarter of London’s drinking water.

The accumulation of different uses and performances continues to restructure the valley today and we see two contradictory processes at work: It is a territory where the rationality of supply and production have almost replaced the natural. At the same time this process is inverted

COPENHAGEN & MALMÖ

through infrastructures becoming obsolete and the development of post-industrial forms of wilderness.

This has led to the formation of a highly layered infrastructural landscape that is only partially accessible.

The landscape could be conceived of as archipelago of spatial fragments such as reservoirs, industrial estates and wetlands that are intersected and separated by rivers, canals and railway lines.

Tottenham Marshes became the study area for the year and testing ground for architectural interventions. The architectural proposals set out to recognise their genius loci and act as contextual adjustments within the surrounding archipelago by dealing with specific programmatic, spatial and social scenarios (reference to ‘accupunctural’ urbanism). The building proposals relate to multiple scales and time-frames.

www.uel23ua.blogspot.co.uk

Visiting Crits: Beth Kay (Haringey Council), Colin O’Sullivan, Felix Xylander-Swannell, Keita Tajima, Louise Duggan (GLA), Mo Wong, Tak Hoshino, Sophia Amend Special thanks to: Heidi Svenningsen & Masa Kajita, Joe Giddings, Joe Penn & Shaun Ryder, Rachel Smith (London Wildlife Trust), R.I.F.T, Roey Hunt, Sarah Considine (GLA), Sophus Søbye, Step Haiselden, Tav Kazmi (Canal & River Trust)

a.1

a.2 Stone Bridge Lock Site Site Axonometric

Stone bridge cafe Service Mooring

Stone bridge lock North view Service Mooring Visitor Mooring

Stone bridge lock South view Residential Mooring Casual Mooring

Tottenham Marsh-land Parking lot

a.3

a.4 Section 1

Section 2

P71 DEGREE Y2&3 Unit A

Students: Y3: Ayisat Kareem, Azwin Mohamadu, Balraj Rai, Jonan Momodu, Nadezda Leonova, Odaine Phipps, Troy Stennett Y2: Anna Ditta, Dhara Bhatt, Felipe Ndjoli-Cuba, Fikrat Gsaim-Zada, Guillermo Cano, Hashea Pinnock, Jan Sroczynski, Luiz Santos, Michael Susmani, Nuno Lopes, Rafael Aguiar, Raquel Vieira, Stephanie Ortiz Loaiza, Surendran Prabaharan

P72  DEGREE Y2&3 Unit A

Study area Tottenham Marshes and project sites Stonebridge Lock & Lockwood Reservoir: a.1 Cross section through man-made topography, Troy Stennett a.2 Boundary conditions along canal embankment, Dhara Bhatt a.3 Site model, Nadezda Leonova a.4 Stonebridge Lock sectional axonometric, Odaine Phipps a.5 Community boat workshop structural model, Surendran Prabaharan a.6 Bath & Washhouse interior view collage, Guillermo Cano. a.7 Tottenham public house & pedestrian crossing, Jan Sroczynski a.8 Bird watching & visitor centre by Dhara Bhatt. from top left to bottom right: view study, cross section, structural model, site model, internal view and access and landscape strategy a.9 Pedestrian bridge and performance space, Luiz Santos Vistors C e nt re Ac c e ss The visitors centre is the stopping and starting point for the Lockwood reservoir area of the park. The building will include spaces for bird watchers, locals and children/schools.

It will connect to the overall Wetlands park in the opening hour times and become a space for birdwatchers and viewing away from the opening hours. This will be done by having one central staircase which is restricted during closed hours.

The building’s top floor - which contains the birdwatching decks and viewing spaces - will be open 24/7 allowing birders to visit by entering from the Stonebridge Lock entrance across the bridge.

6

8 7

a.5

5 4

3

2

1

Ground level plan, 1:200

a.6 1.

2.

3.

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Pylon supporting half of the bridge

Pub area

distribution of the beer

6.

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Pub counter Toilets Pub kitchen

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5 6 4 1

3 2 8 9 11

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a.8

a.9

P73 DEGREE Y2&3 Unit A

P74 DEGREE Y2&3 Unit A

a.10 ‘Fluid junction’ infrastructure proposal for a mix of programmes under one roof including rowing & kayak club, narrow boat workshop, child-care, public facilities and cycle bridge connecting Tottenham Marshes with the Walthamstow Wetlands Nature Reserve, Nuno Lopes a.11 ‘Lockwood Lido’ floating bathhouse with bridge across river Lea and steps up the reservoir embankment, Michael Susmani

Pymme’s Brooke

Stonebridge Lock

Lee Navigation Canal

River Lea

1.

2.

A

a.10

7.

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9.

Lockwood Reservoir

10.

6.

11.

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3.

5.

a.11

P75 DEGREE Y2&3 Unit A

Reservoir Dam

A

Section through Proposal at 1:250

5.

Legend 8.

1. Lock at Stonebridge Lock and bridge over Lee Navigation Canal

Flooding Zone

r

vig

Rive

at

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9.

2. Proposed bridge over natural flow of River Lea, allows access to the reservoir area

e Le

tion

viga

Na

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Sluice Gate

Towp

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eps e St

oke

Hors

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Study Area

me’s

ath

po ry

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tion

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6. Proposed floating pier allowing acces to the baths 7. Proposed Floating Tower Bath

Tem

r

12.

Towp

Sluice Gate Slot Mechanism

Rive

5. Reservoir dam clay core

Le

10.

4. Proposed sunbathing platform and picnic area

with ath

4.

Riv

er

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3. Proposed ascension path up the reservoir dam

11.

3.

8. Proposed Floating Bath main platform 2.

9. Proposed Semi Submergible Open Bath with jumping ledge and access stairs on reservoir side

Lockwood Reservoir

12.

10. People swimming in the reservoir 11. Concrete Floaters support building on the reservoirs water surface

14.

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Plan view of Stonebridge Lock with indicated section line

17.

12. Ballast tank enabling submersion of the bath

AA' BB'

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A’

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Lockwood Reservoir Bath Inhabited Site Section with Annotation Michael Susmani ID: 1439059

17.

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Brief 1: Walking and Looking Lea Bridge Sectional Axonometry Michael Susmani ID: 1439059

P76  DEGREE Y2&3 Unit A

mance

River Lea

Upper Ground Floor 1:100

Key. 8. Holiday pier.

9. Reception.

10. Ramp.

11. Stairs.

12. Mezzanine.

13. Back hallway.

14. Cleaning room.

15. Transport pier.

16. Office 1.

17. Office 2.

18. Operation Room.

19. Ticket Office.

Sound Pedestrians and terminal noises fuse together because of the acoustic properties of the concrete wall.s.

10

+1.5m

Visual transparency.

Pedestrians and terminal users 9 can see view the activities of either parties.

12

+-0.0

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The terminal took the experience of sound from casual, visitors and short term mooring posts.

Trade Mooring- the terminal took the visual transparency from the experience trade mooring post.

+0.3m

13 14

17 18

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19 15

+0.3m

+-0.0

a.12

N

+1000

Green Roof

Cycling lane

a.13 ‘Leisure for London’ Narrow boat terminal improving accessibility for short trips and recreational boating across the wider canal network, Odaine Phipps. a.14 Pedestrian bridge with separate cycle connection and bathhouse, kayak rentals, gym, public facility, Troy Stennett

Gym facilities

Cafe

Canoeing facility Storage

Cycling lane

C-C

D-D

E-E

F-F Green Roof

Cafe

Canoeing facility Storage

Lockers

Canoeing facility

Sauna Room pool Lift Entrance

a.13

River Lea navigation

Changing room

Changing room

Pymme Brook

P77 DEGREE Y2&3 Unit A

Canoeing facility

G-G

Canoeing facility Storage

Sauna Room pool

Reservoir bank

1 0

Scale 1:100

Changing room

Changing room

Canoeing facility Storage

C-C

D-D

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E-E

A-A Scale 1:200

Proposal Plans And Section Investigation 1:200

N

River Lea navigation

F-F

B-B

E-E

A-A Reservoir

Scale 1:200

Accessible roof And Sociable viewing

Proposal Plans And Section Investigation 1:200 Canoeing facility

Pool

Balcony

Cafe

Cycle lane

Cycle lane access

Give the opportunity to explore the River Lee navigation system Within the boat

The pool is a combination facility which would provide cold bathing experience to be use with the Sauna area.

Would provide a outside Access to the roof also to be used as viewing Platform

Sauna room/ColdBathing area Gym facilities

Public access

N

Canal Channel

River Lee Canal Navigation

On the first floor a large open fitness suite would have views across the River Lee

The cafe would lead onto a secure viewing area where parent can sit and watch their children in the Canoeing boats and enjoy a coffee at the sometime.

In order to give the cyclist both an aesthetic and a dynamic experience the Bicycle lane has been designed so that parts of it will extend out on to the water and to Access to the reservoir area

River Lea Walthamstow

Pymme Brook

Lockwood

River Lea navigation

Water

Marshes

Canal Edges

Scale. 1:200

Paths

UNIT C

Paper Architecture Clara Kraft Isono & Ty Tikari

The focus of the unit is to explore an architecture rooted in materiality and landscape. It does this through developing a comprehensive understanding of a material and using it to design and build 1:1 scale building prototypes. We use a combination of digital and analogue fabrication techniques that directly inform the final building proposals. The material we worked with this year is paper. Investigations focused on the use of paper as an experimental medium to produce a ‘Prototype Object’ that explored various spatial and formal relationships.

We begin by researching existing examples of innovative paper fabrication techniques. We test these both through physical and digital models. We looked at the following four precedents: 1. Cutting_ Peter Dahmen, The Cube 2. Folding_ Richard Sweeney, Dodecahedron 3. Layering_ Bianca Chang, A 4. Extruding_ Koji Sekita, Watching you Chair The borrowed methodology becomes an initial design tool to inform alternative ideas of paper fabrication and assembly, in particular in relation to digital fabrication. Other materials and methods such as casting processes and molds are developed with CNC milling technology were used to further the material research.

VALS, SWITZERLAND

In the second term we translate our material investigations into building proposals. Our site was in the valley of Vals, Switzerland. Students were asked to consider what a ‘Pilgrims House’ might be in this location. This brief provided the students a point of investigation to explore the idea of habitation in more free format and offer a counter narrative to the current mega hotel planned for the area. Students were encouraged to be radical in their response to habitation and investigated other existing ‘fringe typologies’ such as summer farmers huts, tree house hotels, and nomadic dwelling types.

““The question is whether digital technologies can impact and therefore change architectural material practice.”

Fabio Gramazio & Matthias Kohler

Visiting Critics: Tak Hoshino, Michele Roelofsma, Carl Callaghan Digital Workshop Soomeen Hahm Digital Fabrication Workshop Callum Perry, Grymsdyke Farm Casting and Ceramic Workshop Jessie Lee, Grymsdyke Farm Special thanks to: Grymsdyke Farm

P2 DEGREE Y2&3 Unit C

Students: Y3: Filippos Kasiotis, Alice Marwood, Ewelina Krol, Zachariah Igbo, Ahmadzia Hasas, Michael Kibalabala, Ali Rashid, Judith Okonkwo, Mohamed Abdelaziz Y2: Chompunuch Varasit, Diana Rupinska, Fabia Reis, Haakon Vatne, Iago Longue Martins, Irene Furlanetto, Joanna Adamczyk, Jordan Harris, Leyana Clarke, Marcus Sterling, Matheus Santos, Neil Dixon, Stanislava Katonova, Sufyan Khalifa.

P3 DEGREE Y2&3 Unit C

In the first term investigations focused on a paper technique to create a prototype object. Four techniques were explored c.1 Extruding: Ewelina Krol, Michael Kibalabala, Irene Furlanetto, Matheus Santos, Neil Dixon, Sufyan Khalifa. c.2 Folding: Filippos Kasiotis, Alice Marwood, Ali Rashid, Joanna Adamczyk, Marcus Sterling. c.3 Layering Zachariah Igbo, Judith Okonkwo, Diana Rupinska, Iago Longue Martins, Stanislava Katonova. c.4 Cutting: Ahmadzia Hasas, Mohamed Abdelaziz, Chompunuch Varasit, Fabia Reis, Haakon Vatne, Jordan Harris, Leyana Clarke.

c.1

c.1

c.1

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P4 DEGREE Y2&3 Unit C c.3

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c.3

c.3

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c.3 a.4

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P82  DEGREE Y2&3 Unit C

c.5 Pilgrims House view of entrance, Neil Dixon. c.6 Pilgrims House view of shared kitchen area, Neil Dixon. c.7 Pilgrims House Plan of first floor showing communal areas, including kitchen, dinning, terraces and entrance, Neil Dixon. c.8 Pilgrims House Section, Neil Dixon.

c.5

c.6

a.4 c.7

c.8

P83 DEGREE Y2&3 Unit C

P5  DEGREE Y2&3 Unit C

c.9 View over rooftops and courtyards, Art Retreat and Museum, Ahmadzia Hasas. c.10 Exploded axonometrik showing how the proposal for Spiritual Retreat and Cheese Making Farm is divided into a summer house and winter house,based on local typologies, Ewelina Krol. c.11 Section, Spiritual Retreat and Cheese Making Farm, Ewelina Krol. c.12 Axonometric view of Refugee Training Centre and Accommodation alongside Hotel and Forest Walkway, Alice Marwood. c.13 Elevation of Refugee Training Centre, Alice Marwood. c.14 View from top of the platform showing the proposal within the forest setting, Alice Marwood. c.15 View of walkway traveling up within the forest setting, Alice Marwood. c.16 Section of Carpentry Training Workshop, Alice Marwood.

c.9

c.10

c.11

P6 DEGREE Y2&3 Unit C c.14

c.12

c.15 a.4

c.13

c.16

P7  DEGREE Y2&3 Unit C

c.17 Study of light for pilgrims house individual cell, Filippos Kasiotis. c.18 Plan of Spiritual Retreat, Filippos Kasiotis. c.19 Section through new Vals housing community, Ali Rashid. c.20 View of Hotel Lobby, Mohamed Abdelaziz. c.21 View over rooftops, Spiritual Retreat, Filippos Kasiotis. c.22 Plan of new Vals housing community, Ali Rashid. c.23 Exploded Axo Artist Community, Zachariah Igbo. c.24 Sketch of internal view, Sanatorium, Judith Okonkwo. c.25 Section, Sanatorium, Judith Okonkwo.

c.17

c.18

c.19

c.20

c.21

c.22

a.4

c.23

c.24

c.25

P8 DEGREE Y2&3 Unit C

UNIT E

Time, Weather and Transitions Isaac Cobo i Displas, Claude Saint-Arroman

Unit E’s research into time and weather is this year focussed on the way in which enclosures and places of passage can create moments and microclimates in time and place. We explore the relationship between drawing and architecture on the basis of speculative proposals over the city of Granada’s existing fragments. Drawing inspiration from the history of architectural drawing traditions and meticulous architectural detailing, the unit designed new architecture that connects with old buildings, within a hypothetical program that integrates this knowledge of open and closed spaces and modulation between them.

Work this Year Students started this year with Georges Pérec’s Life: a User’s Manual (1978) to activate imagination of spaces and their qualities through one of Pérec’s fictional flats each. This exercise was subsequently inverted through a description of their own homes, special moments and spaces of absence in order to appreciate representation and design of transitional qualities through architectural representation.

Students then visited and surveyed several medieval Cambridge colleges, with emphasis and focus on a special moment of transition, poetry and imagination. This informed their experience of the Alhambra, which they compared with Cambridge colleges for purpose and effect - and contributed to the formation of their concept. Students were then

GRANADA, SPAIN & CAMBRIDGE, UK

assigned one of eight sites in Granada, which they then surveyed for their topography and history while developing their early design and proposal ideas.

“A building is interesting today only if it is more than itself; if it charges the space around it with connective possibilities, especially if it does this by a quietness…”

Excerpt from an essay on Mies van der Rohe by Alison and Peter Smithson, 1967

www.uelunite.com

Visiting Critics and Contributors: Francisco Beltrán and Libe García Zarranz, Fellows of Magdalene College Carl Callaghan, Subject Leader A+D, UEL Nenad Djordjevic, Architect and UEL lecturer Juan Domingo Santos architect Lerona Payán, Patronatos de la Alhambra Jan Liebe, Architect, Nord Sara Morrison, Architect, Feilden + Mawson Padre Antonio Cobos Padre Antonio Maldonado Ivan Torres, architect

e.1

P89 DEGREE Y2&3 Unit E

Students: Y3: Bjorn Wang, Erdjan Ruci, Kemal Rustem, Leonardo Paredes, Saman Gamouri , Sinem Camur, Sonam Dahya, Victor Souza Y2: Aaron Williams-Grant, Christina Nika, Dogan Kaya, Eleftheria Lampropoulou, Evgeni Gradev, Gabriela Alves, Hazel Teles, Jana Dockalova, Jehoshua Busari, Nurul MohdNazam, Renata Fassio, Shady Nazir, Tom Dale

P90 DEGREE Y2&3 Unit E

e.1 Drawing survey, Transition Between Spaces, Observation Through Arch, Peterhouse College, Cambridge, Erdjan Ruci. e.2-4 ‘AGUAS DE ALHAMBRA’ PROJECT by Leonardo Castro Paredes

e.2

e.3

e.4 P91 DEGREE Y2&3 Unit E

P92 DEGREE Y2&3 Unit E

e.5-7 Analysing Layers Of Form, Spa project in Granada, by Erdjan Ruci “A common feature that is shared by most of the architecture in Granada is the medieval silhouette layers. In an elevation of Alhambra; the towers, wall and the structures inside form layers by being at different heights one after each other.” text by Erdjan Ruci

e.5

e.6

e.7 P93 DEGREE Y2&3 Unit E

P94 DEGREE Y2&3 Unit E

“This project discusses Alhambra in Granada, Spain and its relation to the site project. The proposal of a gallery provides the historical context of the Islamic society in Spain before the audience interacts with Alhambra.

Exploring factors like circulation and characteristics that can enrich the five senses to achieve an emotional reaction from the audience. Incorporate symbolic references that can enhance a spiritual experience. The influences of these three architects, Leonardo da Vinci, Palladio and Carlo Scarpa enables the proposal site to contain meaning as it investigates the concept of unity through proportional shapes and its connection to nature and man. It could be argued that spiritual symbolism through objects carry information about man’s senses, the association of the object determines the experience gained intertwined with the body, soul and spirit of the spectator.” e.8; e9; e10,e11 text and project by Saman Gamouri

e.8

e.9

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e.11

P95 DEGREE Y2&3 Unit E

P96 DEGREE Y2&3 Unit E

“I am aiming for a realistic approach towards this site, which is why I will be designing for the Alhambra Hotel Palace, as my client. My Client needs their 4 stars hotel to become a 5 star hotel. They own an empty lot next to their hotel where they want to expand the hotels facilities to then be able to achieve the 5 stars, and truly become a luxurious hotel in the eyes of modern society.” e.12; e13; e14; e15; e16 text and project by Victor Franceschetti e Souza

e.12

e.13

e.14

e.16

P97 DEGREE Y2&3 Unit E

e.15

UNIT F

The Housing Question Adam Willis, Lewis Jones

Unit F has a preoccupation with hands on action, with the belief that the act of making can help to address the typical disconnection between the public and the process by which places are made.

We work using large scale models and physical artefacts, placing construction at the core of the design process, seeking to develop work that results from a diverse range of processes and materials. We like to embrace the potential of chance, surprise and accident through the act of making. We set the tone for the year with a 3 week ceramics project exploring a range of techniques in clay that culminated in a meal together.

As young architects, housing is perhaps the most urgent issue in need of our attention. This year Unit F has been working on the edge of the Carpenters estate in Newham. Having become a highly contested territory in recent years, the area can be seen as something of a microcosm of London’s housing situation at large. Originally built as social housing, in 2012 the estate was decanted of its residents, with plans for demolition and redevelopment as a new campus for UCL. Following significant public opposition, these plans fell through, leaving the estate empty and with no certain future. It became the focal point of the campaign group Focus E15 mothers, who squatted the empty houses to provide for those in housing need who the council had failed to provide for.

BERLIN, GERMANY

Earlier this year, the council announced plans to move forward with plans to redevelop the site as housing, working in partnership with a private developer. But what kind of housing, and who for?

Will it follow the trend of many other former council estates in the city that have been redeveloped displacing those in need, and becoming symbols of gentrification and the hyper-commodification of housing? Or will the sustained campaigning of Focus E15 and others make a difference? What are the alternatives?

To inform the future development and housing strategy of the Carpenters, the unit has worked to design new prototypical models of affordable housing on its periphery: a project that could happen now, within existing market structures, which could inform a positive outcome for the Carpenters estate at large. Situated between the Olympic Park and Stratford High Street, surrounded by anonymous new developments that are appearing at an alarmingly rapid rate, we want to explore bold visions for what housing could be.

Visiting Crits: Mark Lemanski, Christoph Hadrys, Katherine Spence, Farrokh Aman, Dan Waterstone, James Binning Special thanks to: Mark Sowden

P99  DEGREE Y2&3  Unit F

Students: Y3: James Crocker-White, Aleksandr Vasjutin, Roman Rassoul, Julius Augustinavicius, Mustak Miah, Ryosuke Minagawa, Tawhid Chowdhury Y2: Corey Smith, Fatma Kavak, Gergana Georgieva, Hani Saab, Helena Flausino, James Mear , Kieran Green , Beryl Hussain, Mats Rasmussen, Mohammed Chowdhury, Patrizio Akkary, Ryan Kyberd, Stela Bonin Battaglini, Yuko Endo

P100  DEGREE Y2&3 Unit F

Ceramics - designing in multiple for a shared meal f.1 Selection of ceramics produced by unit f.2 James Crocker-White f.3 Ryosuke Minagawa & Tawhid Chowdhury f.4 Ryan Kyberd & Patrizio Akkary f.5 James Crocker-White & Aleksandr Vasjutin f.6 James Mear & Helena Flausino f.7 Gergana Georgieva & Hani Saab

f.1

f.2

f.3

f.4 f.5 f.6

f.7

P101 DEGREE Y2&3 Unit F

P102  DEGREE Y2&3 Unit F

f.8 Stela Bonin Battaglini f.9 Gergana Georgieva f.10 Helena Flausino f.11 Stela Bonin Battaglini f.12 Tawhid Chowdhury f.13 Gergana Georgieva

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f.9

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P103 DEGREE Y2&3 Unit A f.11

f.12  



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

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



f.13

P104  DEGREE Y2&3 Unit F

f.14 James Crocker-White f.15 Mats Rasmussen f.16-17 Mustak Miahi f.18 Tawhid Chowdhury f.19 Helena Flausino f.20 James Mear f.21 Ryan Kyberd f.22 Mohammed Chowdhury f.23 Ryosuke Minagawa f.24 Corey Smith

Scale 1:50

Section

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P105 DEGREE Y2&3 Unit F

Olympic Park

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UNIT G

Museum Of Soho Hwei Fan Liang, Christian Groothuizen

The Museum of Soho is real, but it is not a building where you can visit old objects. It currently exists in multiple formats, dispersed across many sites in Soho and beyond: as interactive screens, talks and temporary exhibitions, a collection of books and an archive of written and spoken memoirs and stories, films, sound recordings and photographs. What artefacts it has are stored halfway up the clocktower of the local parish church.

Taking as a starting point the Museum’s ambition to have a physical space, we made propositions for what this future Museum of Soho could be.

In order to inform our speculative proposals for a future museum in a future Soho, we made extensive investigations into the urban area of Soho – with its rich collision of activities, physical and temporal adjacencies, and into the typology of museums – gaining insight into the role and purpose of a modern museum and what it could become. Both of these investigations were rooted in critical firsthand experience, with each student accumulating an individually curated collection of observations and ideas.

LONDON, CAMBRIDGE, OXFORD, PARIS

The Museum of Soho is engaged with the protection of the living present and future of Soho as much as it also remembers a historical past.

Soho as a place is characterised by an intensity of diurnal and nocturnal activities that create a delicate and shifting balance of narratives in juxtaposition.

Proposals sought to respond to a particular character of place, designed around the narrative of inhabitation, and opportunities for interaction and reciprocity between street and interior, public and private.

Unit G are interested in time as a key dimension of architecture and place. Like architecture, film is a construction that is experienced over time, and we use film as a parallel process that can reveal new interpretations of the city around us, and can inform and represent architectural process and spatial concept. We take a cinematic approach – to propose architecture that is oriented around human experience, and to understand our proposals over time. We are interested in how drawings can be the means to generate and develop design proposals, and how to represent these architectural propositions using both digital and analogue techniques to produce hybrid drawings that contain multiple viewpoints and ideas.

Y2: Blessing Mudzamiri, Bruno Sobota, Daniel Ussler, Danii Martin, Elham Alfaify, Erica Da Silva Correia, HongYu Zhang, Jennifer Coote, Júlia Miola Silva, Kym Small, Sidney Carvalho, Suzanna Boulogne, Syed Ahmed www.uel-unit-g.blogspot.co.uk

Visiting Critics: Alex Nikjoo (Foster Lomas), Anthony Powis (muf architecture/art), Colin O’Sullivan, Elantha Evans (University of Westminster), Jayden Ali, Katherine Clarke (muf architecture/art), Mike Levey (Newlon Housing Trust), Mirsad Krasniqi (John McAslan), Russell Potter (SoDA), Simon Tucker (Cottrell & Vermeulen) Special thanks to: Tony Shrimplin and Joan Martyr (The Museum of Soho), Rory Aitkenhead and Ben Wilkes (SoDA), Marek Glowinski (TZG Partnership), Alison Kenney (City of Westminster Archives)

g.1

P107 DEGREE Y2&3 Unit G

Students: Y3: Aaron Joseph, Andre Radcliffe, Djofrely Ferreira, Jose Cerviño IV, Joshua Heather, Paul Marshall, Senan Shamkhi, Valeria Ricci

P108 DEGREE Y2&3 Unit G

We visited numerous museums in London, Cambridge, Oxford and Paris, looking for spatial qualities, light and atmosphere, and observing how visitors related to the artefacts and viewpoints on offer, and where they might find moments of comfort.

Soho provides both the context to and the content for the museum proposals. We started the year by asking what form artefacts for this future museum might take, and students made their own readings of Soho through film and drawing, as a means of finding their own proposal sites.

g.8 Walker’s Court elevations in isometric (Erica Da Silva Correia). g.9 Walker’s Court use and ownership analysis (Syed Ahmed). g.10 Lost cultural spaces and property value fluctuations (Jose Cerviño IV). g.11 and g.12 14 Frith Street existing uses and textures (Joshua Heather). g.13 and g.14 Westminster Kingsway College - existing spaces around the old schoolkeeper’s house, and territories of Zero-One film production (Senan Shamkhi). g.15 W.Sitch interiors (Djofrely Ferreira). g.16 40 Beak Street elevation (Djofrely Ferreira).

Previous page: g.1 Filming alleyways - Tisbury Court and Walker’s Court (Danii Martin). g.2 Spatial analysis - The Wallace Collection, Pitt Rivers, Palais de Tokyo (Senan Shamkhi). g.3 Museum sketches and a space of memory, Whipple Museum (Valeria Ricci). g.4 Fitzwilliam Museum light qualities (Danii Martin). g.5 Dissecting a view, Tate Britain (Joshua Heather). g.6 Soho soundscape film (Joshua Heather). g.7 The Witness animation (Syed Ahmed).

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P109 DEGREE Y2&3 Unit G g.8

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g.12 a.4

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P110 DEGREE Y2&3 Unit G

The current Museum of Soho, while at first seemingly insubstantial, revealed its myriad forms to become a rich source of ideas and information.

St. Anne’s clocktower archive: g.17 Unfolded internal elevations (Joshua Heather). g.18 Hidden spaces in the clocktower and g.23 Photographs of the archive (Valeria Ricci).

g.24 Soho Archive and Learning Resources Centre - sketch models: view from Ingestre Place, staircase tests, massing to Peter Street (Senan Shamkhi). g.25 Screening room for the Museum of Soho, Westminster Kingsway College and Zero-One film production (Valeria Ricci). g.26 Viewing vessel between old and new Soho blocks (Danii Martin). g.27 Sketch model of retained facade and new structure (Djofrely Ferreira). g.28 Artists’ studios and tasting rooms (Erica Da Silva Correia).

The Museum of Soho: g.19 Three types of artefact in the collection, g.20 Network of hosts and events, and g.21 Virtual connections (Senan Shamkhi).

This New Museum of Soho accommodates a new street market and g.22 Relationship to Westminster Archives and developing a community library associated rooftop garden, long-standing artisans and traders, elderly strategy (Senan Shamkhi). residents and local interest groups, together with conventional galleries: g.29 Many of the projects proposed new or augmented programmes for the Between the retained facade and the community room, and g.30 Section museum, seeking to provide for an overlooked audience, to extend the profile through large lightwell and circulation voids (Djofrely Ferreira). and role of the museum in its locality, or in some cases to entirely re-imagine a strategy for preserving, restoring or remembering what we value in Soho.

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P112 DEGREE Y2&3 Unit G

An accumulating graveyard of Lost Spaces of Soho gradually fills an empty structural frame above a large community room; funding for this urban scale memorial is provided by the adjacent highrise tower of luxury flats: g.31 Tower of Lost Spaces, g.32 View looking up through the circulation void, g.33 Conglomerate spaces, concept model, and g.34 View from Soho Square (Jose Cerviño IV).

The Craft Potters Studio is the first phase of a strategy to turn Walker’s Court into an arts and creative culture centre, to revitalise the fading memory of Soho’s independent creative scene: g.35 Sketch view from Walker’s Court to communal garden, g.36 Exploded axonometric of proposal elements, and g.37 Elevation to Walker’s Court (Syed Ahmed).

The Film Factory collects and archives analog film-based memories, and provides resources for making new ones, as a means of preserving the skills of the analog film industry. The bar that currently occupies the small gap-site is incorporated into the night-life, and the precarious material and vegetative forms of the existing building are preserved within the main cinema space: g.38 Section through new and old spaces, g.39 and g.40 The cinema space is only partly protected from weather and ambient noise, and in turn projects its activities onto the street at night, and g.41 Cinema walkways bring proximity and protection to the mossy roof and weathered walls (Joshua Heather).

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P113 DEGREE Y2&3 Unit G g.35

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UNIT H City Room

Keita Tajima, Mo Woonyin Wong

Unit H continued to investigate the city’s incomplete condition as a source of imaginations.

The unit is particularly interested in the context of neighbourhood and the idea of shared space. This year, the students have explored the architecture of a “City Room”. A series of questions have emerged and been explored: What is a “City Room” in response to the current issue of housing crisis, gentrification and the marginalisation of the local communities?

How can the City Room be managed? Where can it be? The students have proposed the City Room as a way to re-imagine the urban life and to reconfigure fragmented urban conditions.

The site area is located around the Walworth road in South London. As an inner edge of London, and having Elephant & Castle as an adjoined major transport hub, this multicultural area has been seeing the process of the rapid urban transformations by the developer-led large projects. The students have sampled a series of urban scenarios and their spatial conditions: event (activity), informal infrastructure (network), left over gaps, excessive spaces, opportunistic hybrid spaces emerged from disorderly regenerated urban conditions.

During the first part of the year, students have explored a threshold condition between urban/ domestic and inside/outside space in a series of paintings by Pieter De Hooch who depicted the richness of Dutch interior space in relation to urban

BRUGES, GHENT & KORTRIJK, BELGIUM

landscape. The result of the painting analysis has been tested as a form of small intervention in city space, which equipped the students with a set of tools to develop their idea of a “City Room”. The unit trip to Flanders has provided the students with further understanding of the relationship between city, architecture and their interior spaces.

The design projects seek to address the issues that students have identified during the group research on the site area by offering strategic architectural proposals. Each student has developed their own idea of “City room” and associated program in a form of local infrastructure, shared space or gathering space. The spatial strategy reflects the analysis of the painting and the building studies from the trip, in response to the context of a place in the neighbourhood. The students explore the ways to adapt and provide an urban living room where the sense of neighbourhood would be expressed vividly.

Visiting Crits: Colin O’Sullivan, Pierre d’Avoine, Punya Sehmi, Sophie Roycroft, Gemma Drake, Kristina Hertel Special thanks to: Bert Callens (Robbrecht en Daem ) Sam De Vocht , Marie-José Van Hee, (MJVH), Hans Vandenberghe (Budafabriek), Step Haiselden

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P115 DEGREE Y2&3 Unit H

Students: Y3: Zuha Aleeya Ahmad Zubir, Elias Elgueta, Darlyn Norlay, Ibrahim Odunsi, Josephine Olagunju, Gannaty Rahman, Damola Salami, Hassan Sheikh Y2: Rozkar Ali, Kurt Darryl Arenas, Lucas De E Silva, Vitoria De Monteiro, Dawood Drankai, Mert Faizel, Sina Fekri, Troy Frazer, Bavneet Jagpal, Michael Jaramillo, Elizabeth Olukemi Olubaju, Dillon Simone Russel, Suthashan Sivalingam

P116  DEGREE Y2&3 Unit H

The spatial study of the paintings: h.0 Cardplayers in a Sunlit Room, 1658

by Pieter de Hooch h.1 The partial model to reveal and explore the space in the painting. Vitoria de Monteiro h.2 The exploration the layered space from the painting. Elias Elgueta h.3 The study of the great hall in relation to the hidden space found in the painting. Hassan Sheikh h.4 Re-creating the scene in the painting by model in relation to the quality of the light. Rozkar Ali h.5 The model explores the spatial condition of inverted space abstracted from the painting. Gannaty Rahman h.6 Testing the idea of in-between and the extension of inside space. The development model and the proposed intervention model. Vitoria de Monteiro h.7 The section demonstrating the proposed intervention to bring inside space out to the street. Vitoria De Monteiro h.8 The section demonstrating the proposed the intervention to bring inside space out to the street. Vitoria De Monteiro h.9 The proposed model for the threshold space between the east street market and quiet

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residential area. Sina Fekri h.10 The proposed intervention for new sequence to the entrance of the housing estate. Ibrahim Odunsi h.11 Test model for the re-conditioning the light and creating the pocket spaces. Rozkar Ali h.12 Sketches for the proposed play area above the passage. Darlyn Nolay

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P117 DEGREE Y2&3 Unit H

P118  DEGREE Y2&3 Unit H

Walworth road and East street market site exploration: h.13 Investigating the empty land between East street market and the housing. Rozkar Ali h.14 The plan view of the market stall depot in relation to the East street market.

Elias Elgueta h.15 The view of the market and the space in-between. Gannaty Rahman h.16 The investigation of the market stalls in East street market.

Group research h.17 Collecting the boundary conditions around the site area. Gannaty Rahman h.18 Testing and the development of the threshold space for transforming the boundary conditions. Gannaty Rahman h.19 Development sketch and the model of the proposal for the urban pergola.

Darlyn Nolay h.20 Conceptual collage for urban pergola to explore the the relationship between internal space and the site context. Darlyn Nolay h.21 Perspective view of the proposed new square as a junction space between the school, craft makers and market vendor. Gannaty Rahmanat h.22 The speculative scenario collage to explore the possibility of new local market

and workshop. Group work h.23 The proposed intervention model for new sequence to the entrance of the housing estate. Ibrahim Odunsi h.24 The proposed plan for the civic platform and the connection to the market. Rozkar Ali.

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P120  DEGREE Y2&3 Unit H

Proposed strategy and the space for City Room: h.25 The proposal local infrastructure as a local gallery and new elevated walk/running track to re-conditioning the existing housing estates and the street scape. Vitoria De Monteiro h.26 The ground floor plan of the local gallery and the street in front.

Vitoria De Monteiro h.27 The strategy for the proposed community square in relation to the East street market. Gannaty Rahman h.28 The section through the proposed community square, workshop/studio spaces and the market stall storages. Gannaty Rahman h.29 The view to the proposed city room between art gallery and the workshop. Sina Fekri. h.30 The proposed cross section for the civic platform and the connection to the market. The section showing the relationship between kids library and the cafe space below. Rozkar Ali. h.31 The proposal for the performance space for the local dance school and the school. Simone Russel. h.32 The ground floor plan for the proposed local community square as a junction space between local residents and schools, craft makers and market venders. Gannaty Rahman

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P121 DEGREE Y2&3 Unit H

P123

MArch Architecture (ARB/RIBA Part 2)

UNIT 2 Earth City

Christoph Hadrys, Uwe Schmidt-Hess

MArch Unit 2 addresses urban and architectural conditions in locations undergoing critical change and over the years, has worked in North Africa, Scandinavia, 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, to create social, spatial and time-based habitats and environments.

This year, our design projects focused on the city of Marrakech in Morocco. The theme of the year was Earth City.

As the Medina or old part of Marrakech is made of rammed earth, we related to this condition with a diverse range of possible materials, structures and forms. Furthermore, Earth City also refers to an urban condition on planet Earth, resonating wider social and environmental dynamics, far beyond the city boundaries. A rich heritage, urban transformations, rapid growth, degradation of resources and social inequalities pose challenges, but also opens opportunities for the future.

MARRAKECH, MOROCCO

The Unit focused on three research areas, a boundary condition to the Palmeraie in the North of Marrakech, the main Gates to the West of the Medina and the Tanneries to the East.

We carefully explored diverse spatial practices, to develop responsive and imaginative proposals.

Within this process, students explored ways in which public spaces and architecture can be part of a synergetic and enjoyable urban life.

“There is much to learn from architecture before it became an expert‘s art. The untutored builders in space and time demonstrate an admirable talent for fitting their building into the natural surroundings.

Instead of trying to ‘conquer‘ nature, as we do, they welcome the vagaries of climate and the challenge of topography“ Bernard Rudofsky , 1964

Visiting Crits: Alan Chandler, Harald Trapp, Kevin Widger, Koldo Sojo, Darren Lee, Daniel Rees, Gihan Karunaratne, Daniel Culqui, Gilles Retsin, Sarah Bland and Maija Viksne Special thanks to: Lucile and Françoise Gache, Khalid Sanhaji (Riad Sahara Nour) Anastasia Karandinou for sharing the office and making the Year Book

www.march-unit2.blogspot.com

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P125 MARCH Y4&5 Unit 2

Students: Y5: Megan Barratt, Christopher (Chris) Bishop, Viktors Catanovs, Stefania Chalakatevaki, Ioanna Drakaki Bartholomew (Barty) Dulake, Megha Menon, Divyani Patel, Rachel Rowson Y4: Fatih Akbudak, Dhiren Appadoo, Vaida Drungilaite, Thomas Dunning, Farshad (Arash) Farhadi, Chris Phaidon Georgiades, Mengly Khuth, Panagiotis (Panos) Papanikolau, Anita Tulaite MA AU Urban Design: Nur Arifah Habib Mohamed

P126  MARCH Y4&5  Unit 2

2.1 Marrakech plan showing the research areas of the Palmeraie, Gate and Tanneries in relation to the Medina. 2.2 Proposal for parkland, greywater recycling, sport grounds and a school, by Mengly Khuth 2.3 Design perspective, showing a new neighbourhood park, a crafts centre and school as well as accommodation, by Panagiotis Papanikolau 2.4 Model showing a new school building in relation to a new parkland, by Mengly Khuth 2.5 Design perspective for a play and sleeping area for children within a new school, by Mengly Khuth

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P127 MARCH Y4&5 Unit 2

P128  MARCH Y4&5  Unit 2

2.6 Plan drawing of a new boundary intervention at the Gate research area. The design is a new cultural and educational facility as well as a neighbourhood park, by Phaidon Georgiades 2.7 Approach to the new intervention and park, by Phaidon Georgiades 2.8 Within a courtyard of a new school and student housing, by Phaidon Georgiades 2.9 Proposal for a new event space for film, music and story-telling, by Christopher Bishop 2.10 Design plan of public activities within proposed event spaces, by Christopher Bishop

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2.10 P129 MARCH Y4&5 Unit 2

P130  MARCH Y4&5  Unit 2

2.11 Tanneries plan with proposed tannery documentation centre, research and vertical tannery, by Stefania Chalakatevaki 2.12 Proposal section of new intervention, by Stefania Chalakatevaki 2.13 Approach to new intervention within the tannery community, by Stefania Chalakatevaki 2.14 Internal passage between documentation centre and tannery, by Stefania Chalakatevaki

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2.14 P131 MARCH Y4&5 Unit 2

UNIT 4

The Socially Smart City with First Base

Roland Karthaus & Dinah Bornat with Daniel May

Unit 4 is interested in investigating the relationships between the socially and physically constructed city and in finding new ways that professional, contemporary development practices can support the future social life of the city through architecture.

Working in Silvertown quays in East London, within a masterplan developed by The Silvertown Partnership, First Base have been acting as a ‘client’ to the unit. Seminars have grounded the unit in a professional context; developing the students’ skills as well as provoking them to question the assumptions that underpin contemporary urban development.

Silvertown is a former quayside industrial site, with historic structures to be retained within the masterplan, including Millennium Mills and Silo D. The existing masterplan has outline planning consent for residential, office space and significant areas of brand space, supported by mixed ancillary uses. The ‘brief’ from First Base has been for the unit to bring fresh ideas and thinking to the table in their efforts to conjure up a real piece of city within a fragmentary and segregated urban context. The unit gathered oral histories and observational surveys to reveal potential for social connections.

During our visit to Seoul, we discovered a particularly intense relationship between architectural and economic scales and forms that generated a unique urbanity. The students’ projects are inspired

SILVERTOWN, LONDON & SEOUL, S KOREA

by the structuring of these spaces, re-appropriating their patterns and investing them with new functions and economies more familiar to London.

The unit has worked within, rather than against the masterplan, choosing to challenge it architecturally through spatially provocative thesis projects, that can offer a new level of enrichment and which if repeated across the whole site would generate a genuine form of city life. The ‘smart’ infrastructure of this place is understood as the people who will inhabit it and the buildings as the containers of urban space that enable social inhabitation.

Visiting Crits: Ketan Lad, Ben Spencer, Andy Puncher, Pat Woodward, Ralph Parker Special thanks to: First Base and the Silvertown Partnership, Rhodar, AHMM, Fletcher Priest, Feilden Clegg Studios, James Nevin, Arney Fender Katsalidis

“It is possible to make buildings by stringing together patterns, in a rather loose way. A building made like this, is an assembly of patterns.

It is not dense. It is not profound. But it is also possible to put patterns together in such a way that many patterns overlap in the same physical space: the building is very dense; it has many meanings captured in a small space; and through this density, it becomes profound”.

Christopher Alexander

P133 MArch Y4&5 Unit 4

Students: Y5 Ebenezer Solola, Robin Philpot, Adnan Atrash, Jim Rooney, Aaron Dellaway, Nhu Le Y4 Claire Bodau, Caroline Leadon, Samuel King, Maddy Mohd Noruldeen, Matthew Jolly, Evelina Rodrigues, Agata Korsak, Afiqah Abdul Aziz, Aaron Carter-Nibbs

The Soul of Seoul 4.1 Sectional study of food market, Samuel King. 4.2 The fine urban grain of Seoul, contained within a larger grid, Samuel King.

4.3 Food Market, Seoul, Caroline Leadon. 4.4 Silvertown Masterplan, with proposals aiming to bring the intensity of Seoul into the urban blocks, Robin Philpott. 4.5 Lighting studies, Claire Annang 4.6 Experimental ferro-fluid machine, Evelina Rodrigues. 4.7 Study model, Evelina Rodrigues. 4.8 Acetone print, Aaron Dellaway.

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P135 MArch Y4&5  Unit 4

Study models and sketches to develop proposals in relation to the masterplan 4.9 developing relationships to the listed grain silo building, Ebenezer Solola. 4.10 perspective exploration of landscape and enclosure, Caroline Leadon. 4.11 perspective exploration of massing and form, Samuel King. 4.12 spatial organisation for community theater, Madihah Mohd Noruldeen. 4.13, 4.14 & 4.16 Section and models of creative arcade project, Nhu Yen Le. 4.15 Perspective study of street and facade relationships, Aafiqah Abdul Aziz.

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P137 MArch Y4&5  Unit 4

Final project images: 4.17 Top floor of suspended office building and oral history archive, Agata Korsak. 4.18 Workshop space within design school and incubator offices, Robin Philpott. 4.19 Structural model, Agata Korsak. 4.20 Internal/external street view, Robin Philpott. 4.21 Interior arcade view, Nhu Yen Le. 4.22 & 4.23 Exterior view of flood resilience institute, 2020 and 2170, Aaron Dellaway.

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P139 MArch Y4&5  Unit 4

UNIT 5

Interior Urban, The Open Cultural Structure Carlo Cappai, Maria Alessandra Segantini

Territories, cities and buildings can be read and re-written as texts, where “...the networks are many and interacts, without any one of them being able to surpass the rest; this text is a galaxy of signifiers, it has no beginning; it is reversible; we gain access by several entries, none of which can be authoritatively declared the main one...” (R. Barthes, S/Z, Turin, 1973).

In a moment where a massive epochal change is not only happening, but also accelerated by forces which go under the names of global urbanization and digital technologies, which question the Modernist model of social organization and shift from formalized spaces and times to the production of processes of informal flows, a molecolar economic strategy is transforming the city in its interior grain, producing a permanent energy of re-formation trough series of micro-transformations.

The studio has explored these urban forces through the production of form in reaction towards the existing building of The Sorting Office in New Oxford Street in London, a steel-made structurally generous building covering one acre and sitting adjacent to Soho, Covent Garden, Bloomsbury, near the British Museum.

LONDON, UNITED KINGDOM

For the potential hidden in its location and structure, the Palace can be considered a prototypical piece to resist the GDP driven top-down interventions, investigating the meaning, form and impact of grafting an open cultural centre to test processes of adaptation, transformation, addition, manipulation, inclusion, which our cities are constantly undergoing. Processes which we (C+S Architects) have defined TraslationArchitectureTM. We have travelled to Spain to ‘learn from others’ investigating the potential of spacemaking through the grafting of new cultural structures in consolidated urban centres.

We have worked in parallel with the students of Hasselt University in Belgium and have exchanged ideas and design approaches with them during a one-week workshop in March.

We have partnered with the engineering firm Pell-Frishmann to define the strategies to engage with the existing structure and manipulate it to test its potentials of formmaking.

Visiting Crits: Alan Chandler, Tony Fretton, Eddie Jump, Anna Minton, Isaie Bloch, Herald Trapp Special thanks to: Mauro Bono, Eddie Jump, Kee Leung, Mike Nylon, Ashu Prabhu, Miguel Serra, Greg Stewart of Pell Frishmann, London

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P141 MArch Y4&5  Unit 5

Students: Y4:Navia Alla, Sahand Asaid, Carl Gbeddy, Miyuki Yamauchi, Tharindu Peiris, Moiz Zahid Y5:Idzamuri Ashari, Rosaleen Commettant, Wajiha Dadabhoy , Rafael De La Hoz, Aaron Jones , Fabien Mitchell, Chandni Patel, Lim Tse Voon, Melvin Wong

a.1, a.2 Interior render of project scheme by Moiz Zaid a.3, a.4 Interior render of project scheme by Moiz Zaid a.5, a.6 Sections of project scheme by Moiz Zaid

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P143 MArch Y4&5  Unit 5

a.7 Diagrams of project scheme by Rafael De La Hoz a.8 Existing and new elevation of project scheme by Rafael De La Hoz a.9 Model of project scheme by Melvin Wong a.10 Render of project scheme by Melvin Wong a.11 Render of project scheme by Rafael De La Hoz

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P145 MArch Y4&5  Unit 5

a.12 Section of project scheme by Melvin Wong a.13 Render of project scheme by Tharindu Peiris a.14 Axonometric drawings of the main stairs of project scheme by Sahand Asaid a.15, a.16 Interior renders of project scheme by Sahand Asaid a.17 Section of project scheme by Carl Gbeddy

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P147 MArch Y4&5  Unit 5

UNIT 6

Novel Discreteness Gilles Retsin, Isaie Bloch

Rather than borrowing models from nature, Unit 6 argues for an architectural ontology based on sharpening the tension between architecture and its parts. Increased computational capabilities are able to push the initially modernist understanding of architecture as an assemblage of prefabricated, discrete elements into an unexpected new domain of previously unachievable detail, materiality, structure and aesthetics.

In current architectural formations and construction standards, we can assume that the majority of building elements are prefabricated in discrete elements; these elements are subsequently cut and sliced to fit a specific form. The elements themselves do not impose a specific constraint or design agency; and give rise to arbitrarily assembled, generic buildings. Continuous fabrication processes on the other hand have intrinsic problems with fundamental issues such as speed, structural performance, multimateriality, tectonics and reversibility.

Unit 6 will focus on discrete or “digital” fabrication processes, which are based on a small number of different parts connecting with only a limited number of connections possibilities. The design possibility, or the way how elements can combine and

VARNA, BULGARIA

aggregate is defined by the geometry of the element itself - which leads to a “toolless” assembly. The geometry of the parts being assembled provides the dimensional constraints required to precisely achieve complex forms. This relationship of part to whole and the relations of part to part within a whole is referred to as “mereology”.

Given the framework of discrete fabrication, where the geometry and definition of a part generates the whole, mereology becomes an important concept to progress the idea of heterogeneous digital assemblages. We are looking into establishing a new type of fabrication which is based on low-cost and reversible assembly of highly-detailed, heterogeneous and structurally sound objects, using simple and quick assembly methods.

The context in which students will be launching their design developments is located in post-socialist Varna, Bulgaria.

The country is popluated with a vast history of modernist “discrete” architecture.

Simultaneously the unit will be working on a real competition brief in Varna, questioning the notion of the contemporary library and public realm, in relationship to the privatisation of local public space.

Visiting Crits: Manuel Jimenez Garcia, Harald Trapp, Mollie Claypool, Mark Lemanski, Christoph Hadrys, Carlo Cappai, Carl Callaghan, Bridget Snaith, Alan Chandler, Stefan Bassing

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P149  DIPLOMA Y4&5  Unit 6

Students: Y4: Shashi Abayasekera, Afi Abdul Malek, Daniella Asare, Pelin Ayca, David Gogo, Takuma Kiyama, Zi Xin Lim, Quadri Uthman Y5: Michael Eleftheriou, Fernando Cano, Ina Kanazireva, Waqas Khan, Rahul Mirpuri, Bindu Nagi, Helen Richardson-Crespo

P150  DIPLOMA Y4&5 Unit 6

6.1 Physical model of a spatial assemblage of discrete cross laminated elements. Playing with the idea of horizontal and vertical atria. Helen Richardson-Crespo 6.2 Aggregation of shells and domes. Starting from a folded paper model, a series of shells were assembled together; creating a continuous path in beween. 6.3 Plan drawing of aggregated shells. Takuma Kiyama 6.4 Library as park, a series of subtly curved floorplates and shells constructing a library which interweaves public and private spaces. Takuma Kiyama 6.5 Model facade study; discrete aggargetation of large scale elements. Waqas Khan 6.6 Physical model proposal. The project is based on a spatial arrangement of recursive tetrahedra as base elements. Swapping scales so to produce a heterogeneous articulation and spatial arrangement.

Pelin Ayca 6.7 Interior views of the main library space.

The building is based on a brettstapel construction method. Rahul Mirpuri 6.8 Interior view showing the relationship in between collumn, beam and bookshelf as one component. Distributed along a totally free open floor plan.

Rahul Mirpuri

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P151 DIPLOMA Y4&5 Unit 6

P152  DIPLOMA Y4&5 Unit 6

Questioning the idea that the only thing left to architecture is a very thin 6.9 This proposal suggest a library of diffused atria, where the whole surface, to cover content. Helen Richardson-Crespo building is a non hierarchical space. Questioning the relationship in between vertical and horizontal, plan and section conditions. The construction method is based on discrete pieces with a consistent one sided pattern. Helen Richardson-Crespo 6.10 Chunks showing different patterns of organisation of elements, giving rise to different spatial conditions. Ina Kanazireva 6.11 Library as archive, greenhouse and botanical garden. Transitioning from surface to skin model allowing to introduce a trapped object. Bindu Nagi 6.12 Study into architectural competitions. This proposal is generated from big data analysis into competition winning proposals. Michael Eleftheriou 6.13 Library as distributed atrium. The complex inner structure of the library is partially hidden behind a reflective facade.

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P153 DIPLOMA Y4&5 Unit 6

P154  DIPLOMA Y4&5 Unit 6

6.14 This project looked into aggregating a single container-like element; organizing the entire space. One side of the element is diagonal, which allows to organise slow circulation. the element is then clad with different materials in relationship to the programme distribution. Shashi Abayasekera 6.15 Section trough community center, showing transition inbetween different floor conditions by using a heterogenious aggregation of discrete U shaped elements. Ina Kanazireva 6.16 U-shaped steel profiles are organised into three layers of different spatial conditions: dome-like spaces, vierendeel trusses and directional spaces defined by beams. These conditions are then materialised with the u-shaped profiles. Ina Kanazireva

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P155 DIPLOMA Y4&5 Unit 6

UNIT 9

Legal Alien: Relation and Representation Harald Trapp, Robert Thum

A traditional building-typology of relational and representational architecture is the embassy, which has a long history. Unit 9 wants to challenge this typology from the perspective of a smaller country with a particular interior organisation, that seems to represent European problems, but also potentials: Belgium. The cultural, lingual, territorial, economic division of Belgium creates a series of dialectics between euphoria and depression, megalomania and minmalism, idiosyncrasy and blandness.

Interestingly enough Belgian architecture has responded recently with a range of projects which share an irritational interpretation of normality/the everyday.

The architecture of diplomatic missions distinguishes itself from other spaces of representation, e.g. architectures of assembly, as it takes differentiation and separation as a given. It is the spatial management and expression of difference. Traditionally these places were the residences of foreign envoys close to the court of a host country. These developed into diplomatic missions, that today have to cover a multitude of tasks of regulating mutual relations. Their special

legal status, their uniqueness and their proximity and direct connection to local centers of power makes them symbols of the represented entity.

In embassies, state or national borders become transformed into architectural boundaries. These buildings are enclaves within the territory of their host country. Their spaces have to provide an interface for the relations between different cultures and administrative and political systems. The accompanying necessity of representation finds its form as well in symbolic expression (of either unity or difference) as in programmatic elements like cultural festivals or a multitude of formal/informal events. Embassies are condensed states within other states, extraterritorial areas with a highly specialised status and numerous friendly and unfriendly activities towards their host-country. They are accomodation, office, refuge, cultural center and symbolic representation.

e.0 Cross section, New Belgian Embassy in London, by George Soiza. The project developed the conceptual idea of the Belgian embassy as a collection of houses unified in one structure. One house comprised of multiple houses.

Both physically and programmatically.

BRUSSELS, BELGIUM

Y5: Aimilia Fragkedaki, Farid Mahmood, Jamal Mahmood, Remziye Meydan, Tahban Mokree, Rozhgar Muhammed, Robert Park, Talha Siddiqui, Nadira Sultan

Visiting Crits: Marcus Andren, Keita Tajima, Cordula Weisser, Tony Fretton P157  MArch Y4&5  Unit 9

Students: Y4: Nabihah Abdul Haiyee, Marius Coste, Maria Damianidou, Raghav Dixit, Sofia Ichtiaroglou, Kostas Palantzidis, George Soiza, Oliver Taylor, Anna Zacharaki

Special thanks to: Alain Bloch, Jan DeVadder, Gilles Retsin, Isaie Bloch

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Bridging Courtyards, project for the new Greek Embassy in Molenbeek, Brussels by Maria Damianidou a.1 Section through embassy and residence of ambassador showing the courtyards a.2 From the gallery looking to the private courtyard a.3 Photo of the model showing the overlapping courtyards.

Invisible boundaries , project for the new Belgian Embassy in London, by Anna Zacharaki : The project aims to explore the boundaries of inter-relating systems and the potential for them to function as a single entity, as the multifarious character of an embassy suggests. b.1 Belgian embassy placed on site on Kensigton Churchstreet, Notting Hill b.2 Top view of the embassy looking towards Kensigton Churchstreet b.3 View showing the visual interplay of the offices located on the second level.

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P159 MArch Y4&5 Unit 9

Legal Alien: Belgium (K)Not: New Belgian Embassy in London, by Oliver Taylor: The project is an interpretation of the country’s disconnection, separated into many fragments and languages the knot then becomes a symbolic representation, tying these elements back together as one. c.1 Embassy courtyard provides a boundary space for the residents, ensuring a level of security for the staff. c.2 An axonometic of the overall embassy within the surrounding context. c.3 The final view looks at the entrance space, showing the connecting elements, the Exhibition/Conference view and the Chancery Office view down into the central section

the national embassy a new type of building emerges that aims to represent and protect people that belong to no state. d.1 Cross section d.2 The design implies a flexible space, open to different inhabitational tactics and improvisation: EU meeting space, level four d.3 Axonometric view to south facade

Stateless Representation by Sofia Ichtiaroglou: Inspired by the typology of

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P161 MArch Y4&5 Unit 9

New Belgian Embassy in London, by George Soiza. e.1 Development of an architectural language for Belgian representation by abstracting a Belgian housing stock typology through layering and extrusion. e.2 The resulting abstracted footprint and its transformation into a working floor plan for the proposed Belgium embassy

New Belgium Embassy in London, by Raghav Dixit h.1 View of the Street elevation New Belgian Embassy in Tokyo, Japan, by Kostas Palantzidis i.1 View approaching from the East

New Belgian Embassy in London, by Marius Coste: The project is located in the new diplomatic precinct on the riverside of the Nine Elms regeneration area, Vauxhall. f.1 Entrance situation with the suspended press and assembly hall f.2 View over the river Thames form the fourth floor exhibition centre.

New Malaysian Embassy in London, by Nabihah Abdul Haiyee g.1 View form the river Thames

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P163 MArch Y4&5 Unit 9

UNIT 10

Toward New Spitalfields Mark Lemanski with Katherine Clarke

Unit 10 focuses on the intersection of the lived and the built space, which is approached simultaneously at small and large scales: the scale of human interaction and the scale of political decision making. It draws on different disciplines in its engagement with the real life factors that shape our environment.

Toward New Spitalfields deals with the concept of intentional communities. We have developed a housing design in dialogue with a co-housing group interested in settling in Thamesmead, a well-worn utopia brought closer to Central London by Crossrail, and recently purchased by the Peabody Housing Association.

Our designs set out to aid their inhabitants in making a home for themselves and their wider co-housing family so compelling as to compensate for its marginal location, and addressing the relationship of a new generation of pioneers with the existing residents.

NEW SPITALFIELDS

The brief was based on the aspirations of the Naked House community and our research of co-housing schemes in Britain and Denmark, including Walters Way and Copper Lane in London, LILAC near Leeds, SĂŚttedammen, Trudeslund, Lange Eng and Christiania in Denmark.

Whilst the unit topic was footed in a concrete housing project, it was complemented through a series of seminars to explore wider issues, for example civic cohesion and identity in the context of regeneration, degrees of communality of inside and outside spaces, or an architect’s agency in design practice understood as a facilitating discipline.

Visiting Crits: Axel Feldman/Objektif, Bridget Snaith/Shape, Georgina Day, Neil Double and Rachel Bagenal of Naked House, Maria Lisogorskaya and Lewis Jones/Assemble, Paul Fowler and Dan Hill of Peabody, Ken

Rorrison/HHbR. Also Russell Potter, Alex Nikjoo, Jayden Ali and Mike Levey at the open Jury.

Special thanks to: Chris, Chouf, Harry, Lizzy, Neil and Rachel at Naked House. Ian White at Walters Way, Hanne and Brian at Sættedammen, Nina and Laura at Lange Eng. Greg Cooper/B&K Structures, Kay Hartman/KLH, Chris and Martin/engineers HRW. And Rik Boulton of the Peabody IMPROVE Project Group. newspitalfields.wordpress.com

P165 MArch Unit 10

Students: Y5: Alba Daja, Eman Osman, Konstantina Sipeta, Maria Apostolopoulou, Michalis Georgiou, Samira Vosough Y4: Alvin Hung, Athena Hylton-Thompson, Lauretta Doku, Maria Theodorou, Mary Adetayo, Nor Amirah Syamimi Bt Norhaidi, Preksha Chhasatiyap, Sagal Muhumed, Sinem Gurgur, Yaprak Cetinkaya

P166 MArch Unit 10

The approach to co-housing in Thamesmead was multi-layered: We visited precedents both in Britain and Denmark, for example a.1 the very first co-housing scheme Sættedammen, north of Copenhagen. Initial site research was conducted through a.2 on-site interventions emphazising valued characteristics, here by Eman Osman; desk studies, for example a.3 crime statistics by Maria Theodorou; a.4 connectivity by Alba Daja; a.5 existing housing typologies by Konstantina Sipeta, and a.8 interviews with local residents: Initially hesitant, they were forthcoming when asked about the horses grazing throughout Thamesmead, and spoke about their needs and requirements as if about their own. The research directly fed into first design ideas, here a.6 + a.9 exploring thresholds of private and public spaces by Alba. The majority of students chose sites in proximity to a.7 Southmere Lake.

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P167 MArch Unit 10

P168 MArch Unit 10

Our brief was based on the requirements of the Naked House co-housing group, who acted as clients. We developed b.1 working models, by Alvin Hung,to enable b.2 detailed discussion with Naked House members. We explored b.3 clients’ requirements for degrees of openness and sharing, and b.4 how the designs could adapt to their occupants’ changing circumstances,

by Maria Apostolopoulou. Designs were further refined in response to client feedback, such as this b.5 four unit prototype that combines compact adaptable flats with a shared common space, also by Maria. b.6 Client requirements determined masterplans, by Eman. b.7 The designs provide communal facilities such as workshops and a communal house as well as provisions for the wider community, by Maria Apostolopoulou. b.8 Uses are explored through storyboards, by Mary Adetayo.

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P169 MArch Unit 10 b.6

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Daniel, a banker who works in the City, wakes up at 7am.

He has a quick workout in the cohousing gym overlooking the lake.

He suits up and has a quick breakfast before heading out the door.

Daniel walks 10mins to Abbey Wood Crossrail station for a 20min ride to central London.

After a long day at work Daniel arrives back to a meal cooked by one of his neighbours.

Rachel, a stay at home mother of two is awoken by her eldest daughter.

Whilst her husband gets ready to leave for work, Rachel feeds her youngest.

Rachel finally has some peace and quiet as her youngest is sleeping and she watches her eldest play with the neighbours in courtyard.

It’s Rachel’s turn to cook for her co-housing community, so her and a couple of other parents get together with the kids and make a day of it.

Rachel is tired after a long day, she leaves the kids with a neighbour and grabs a coffee with her neighbour.

Jacob a freelance artist rises early to get started.

With a studio space in his home overlooking the lake, Jacob sets to work.

Jacob has a client coming, for which he has rented a ground floor unit.

After his client meeting, Jacob grabs some food in the communal kitchen.

At the end of a productive day, Jacob relaxes on the sofa with a good book.

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P170 MArch Unit 10

Final layouts demonstrate carefully crafted interfaces between private, communal and public uses. c.1, c.4, c.5 A wintergarden acts as an extension to its adjoining flats, and allows views into and from the courtyard. c.2 Communal facilities both indoors and outdoors complement the residential units, by Konstantina. c.3 Access to flats on the the upper stories is via balconies and open stairs facing the courtyard, by Alvin. c.6 A new pier provides a public destination and links into the lakeside walk, by Eman.

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c.6 P171 MArch Unit 10

PROJECT X

Independent MArch Research Dr Renee Tobe and Claude Saint-Arroman

Project X is a piece of individual research. It offers a real opportunity for students to think long and hard about a topic of personal interest them. It is for the student to really make the most of this opportunity to study a subject that helps their own development as an architect through research and reflection.

Each student develops their own ideas vividly and coherently, not necessarily producing a definitive answer to a problem, but defining an area of enquiry, investigating it thoroughly and reading a place of resolution. It is presented predominantly in written form, although it will almost inevitably have a visual component which needs to be well considered.

This year’s Project X dissertations include: Ina Kanazireva Investigation into the Archetype of the Chalet This research is concerned with the traditional mountain architecture of chalets. It explores the differences between a vernacular chalet and contemporary versions often associated with tourism industries. This research explored the concept of Heidegger’s hut, and notions of world and ground, and ‘home’ and how life can be centred around the fireplace within a cultural wilderness that informs different forms of ski huts in Switzerland and Bulgaria.

Divyani Patel Hybridity of Sociocultural Systems between Mandvi, India and the Euro-West; A Personal Exploration Through the Medium of Photography.

Being British born with an Indian heritage from Mandvi, Gujurat, Divyani belongs to both cultures.

The question explored in this essay is how to identify with two cultures simultaneously. Initially this addressed a response to categorisation that arises in Western sociocultural thinking. The dual aspect of identity is instead defined as a hybridity that requires an interface in order to be interpreted. This was investigated through the medium of photographs from personal family archives as an interface to extract meanings and interpret information from both cultures and analyse findings, looking at both objects and architecture as well as people and culture. The results of embracing the interface that exists where two cultures meet opens up alternative ways of thinking about identity and belonging.

P24 MArch Y4&5 Project X px.1

Chandni Patel How to Build a Utopia Over the years many philosophers, town planners and architectural designers have aspired to design and build the perfect community. This is known as ‘Utopia’. The famous term derived from philosopher Thomas More’s Utopia in 1516. The main discussion is based on research on More’s Utopia, Godin’s Le Familistère, Ebenezer Howard’s Garden Cities and Titus Saltaire’s community for factory workers and their families. These ideas of settlements have not only been limited to Europe, but also across the USA including Mies Van Der Rohe’s Lafayette Park in Detroit, Michigan.

px.1 Diableries, The French Swiss chalet

Jim Rooney Sustainable Architecture; Is the Redevelopment of Public Housing Sustainable?; A Critical Analysis of the Heygate Estate Redevelopment Genuinely affordable social housing provision in the UK has reduced drastically since the 1970s. The causes are multifaceted but the primary symptom, now well documented, is that the majority of people who work in London can no longer afford to live there.

This places increased pressure on current trends for the redevelopment of existing public housing in London to be sustainable, in order to provide sufficient housing within the financial reach of the residents of the city. These issues are investigated through the redevelopment of the Heygate Estate in Southwark. A series of interviews with a variety of professionals constitutes the basis of a debate which questions the definition of sustainability put forward by the institutions.

BSc Architectural Design Technology YEAR 1 & 2

Dr Heba Elsharkawy BSc, MSc, PhD, FHEA, ACIAT Programme Leader

P175

Architectural Design Technology (ADT), an interdisciplinary course, blends architecture with building engineering, construction technology and design management. Architectural technologists, architects and structural engineers together with academics equip students with the knowledge and employability skills needed for a promising career in this field.

Architectural Technologists apply their expertise in building science and technology to architectural and construction projects. Students work on projects that involve managing the design process and using technical knowledge to develop innovative solutions to real-life problems.

By exploiting UEL’s industry-standard wood workshops, studios, laser-cutting and printing facilities, students create and test the technical factors that help produce the most efficient designs.

ADT students learn how to manage a project from conception to completion, whilst integrating holistic sustainability besides understanding regulatory and legal frameworks.

Heba Elsharkawy

A+D Technology

Appreciating the role of the Architectural Technologist Heba Elsharkawy, Michele Roelofsma and Kristian Garrecht

Architectural Design Technology course welcomed its second cohort of students in autumn 2015. The focus has been to work on design briefs that would deliver creative but pragmatic design projects. The design process we adopted was to explore possible design solutions for a given design brief by considering the site, the clieant’s needs, the structural systems, materials, whilst ensuring holistic sustainability of the design.

In Year 1 ADT, we worked on two short projects in term 1 and a comprehensive project in term 2. We have been working on designing a personal space to live and work in, a ‘Life-Work Pod’ on a site in Trinity Buoy Wharf, within the ‘Container City’. The Container City was designed by USM and entails flexible modular units composed of refurbished containers that cater for different user needs. The Life - Work Pod project aimed to develop our technical understanding of a relatively small structure by considering the building materials, processes and technical details applied in the architectural design and building construction industry. As the first comprehensive design project to work on in our first year, it helped us become more familiar with design development processes including the analysis and interpretation of the context and developing projectspecific research.

In Year 2 ADT, we have been working with the Wanstead community to regenerate Wanstead Park, London. We undertook comprehensive site surveys

Paris, France

and interviewed the building users and management staff to understand how the park functions particularly around The Temple; a grade 2 listed small museum which tells the story of Wanstead Park. Within our technical design proposals, we aspired to tackle key strategic questions: What are the limitations and potentials of the site and context (SWOT analysis)? How can the climate play a crucial role in developing an efficient design proposal (climate analysis implications)? What could be the most effective building form and fabric for the chosen site (environmentally and economically)?

What types of materials could be used to ensure an environmentally sustainable design?

What are the aspects that would guarantee occupants’ health and wellbeing? How can we embed holistic sustainability in the design; socially, economically and environmentally?

We also went on a field trip to Paris to observe and explore the design and construction technology of different building typologies, namely Maison de Verre, Villa La Roche and Centre Pompidou. We had the opportunity to walk in the heart of the city and appreciate the historical development of building design and technology .

Special thanks to: Janet Insul, Rasheed Dauda, Stephanie Sculz-Westrum, Nick Cheeck, Anas Lila P177  BSc ADT 1&2

Students: Y1: Aleek Hussain, Ahmet Kilinc, Ahamed Reyasul Hassan, Adelino Fernandes Batista, Hussein Mulawa, Jeremy Marezana, Battal Sahiner, Ramone Jheeta, Habib Sahel, Neda Nosratabadi, Farooq Sheikh Y2: Gergo Vandor, Giulio Ferragut, Thiago Torres (SwB)

www.uel.ac.uk/Undergraduate/Courses/BSc-Hons-Architectural-Design-Technology

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Architectural technology is a subject that is integral to the design of buildings and structures.

It is rooted in science and engineering knowledge applied to the design of buildings to achieve optimum functionality; efficient and effective construction; and robust, durable and sustainable design solutions that perform over time.

QAA Benchmark

P178  BSc ADT 1&2

adt.1 The Temple at Wanstead Park (Giulio Ferragut) adt.2 The design proposal for the regeration of Wanstead Park (Gergo Vandor) adt.3 Aeroply forms for the Life-Work pod (Aleek Hussain, Farooq Sheikh, Adelino Batista) (Habib Sahel) adt.4 The structural model of Villa La Roche (Ahamed Reyasul, Adelino Batista, Farooq Sheikh) adt.5 Inhabited sction in the Life-Work Pod project (Ahmet Kilinc) adt.6 (Aleek Hussain) adt.7 Ground floor plan of the Life=Work Pod (Adelino Batista) adt.8 Setion BB (Adelino Batista) adt.9 Section CC (Adelino Batista) adt.10 Glazing detail sketch (Giulio Ferragut) adt.11 Wall-floor detail isometric sketch (Neda Nostratabadi) adt.12 Eaves detail sketch (Adelino Batista) adt.13 Wall-floor junction detail drawn using MicroStation (Ahamed Reyasul)

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P179  BSc ADT 1&2 adt.10

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P180  BSc ADT 1&2

adt.14, 15, 16 3D physical models of wall-floor junctions (Ramone Jheeta) adt.15 Laser-cut 3D physical model of The Temple (Gergo Vandor, G, Adelino Batista, Ahamed Reyasul) adt.17, 23 3DsMax model of project proposal (Thiago Torres) adt.18 Plan and section in Life-Work Pod (Ramone Jheeta) adt.19 Laser-cut 3D physical model of The Temple (Gergo Vandor, Giulio Ferragut) adt.20, 21, 22 Technical details inked on tracing paper (Ahamed Reyasul, Aleek Hussain) adt.24 Site section of the Temple and the proposed design (Giulio Ferragut) adt.25 Working drawing of the section (Giulio Ferragut) adt.26 Exploded structural model of the design proposal (Giulio Ferragut) adt.27 Green roof detail (Giulio Ferragut) adt.28 Climatic data and psychrometric chart of London (Gergo Vandor)

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P181  BSc ADT 1&2

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P182  BSc ADT 1&2

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P183  BSc ADT 1&2

adt.29 Working drawing of project section showing the cafeteria and exhibition space (Gergo Vandor) adt.30 Working drawing of the project plan (Gergo Vandor) adt.31 Rhino structural model of the glulam structure employed for the design proposal (Gergo Vandor) adt.32 Laser-cut, plywood, 3D physical model of the design proposal (Giulio Ferragut) adt.33 Step-by-step process for building a steel plate connection system for the timber structural system built at the casting and wood workshop (Gergo Vandor). adt. 34 Photos from The National Self-Build and Renovation Centre (Adelino Batista) adt. 35 Photo from one of the site trips (Mike Hurst, Programme Leader for BSc Construction Management) adt.36 Concrete pouring and testing at the UEL Civil Engineering lab (Ramone Jheeta) adt. 37 Paris field trip, Villa La Roche (Ahmet Kilinc) adt.38 Photograph captured at Canning Town Centre project, Bouygues UK (Aleek Hussain)

BSc Product Design Year 1&2

Paul Lighterness Programme Leader

P185

The Product Design Programme encourages students to explore , question and understand people and problems with the key objective to providing responsive solutions that will improve and better an individuals or a groups life and experience.

Answers to questions address social and environmental questions and look at issues within context.

Only by undertaking primary research working with a chosen user group are students really able to appreciate and understand problems faced by their users.

Solutions are explored through 2 dimensional and 3 dimensional means in conjunction with significant interaction with users through a variety of research methods including empathic, experiential and user centric research methods.

Refinement continues throughout the project until a final solution is produced Paul Lighterness

Product Design

Innovation Through Design Mattew Brown, Andrew Wright, Mathew Hurley, Philip Phelan, Subramaniam Arunachalam

The product design programme works to enable students to understand that their subject is about solving problems, posing questions and delivering answers for a core user group, with solutions deriving from primary research.

Designers are encouraged to explore new subjects and design solution to problems.

Topics address discussions and debates prevalent of the time, or one that the individual has witnessed, experienced or observed.

Students are encouraged to explore their chosen subject on a social and environmental level. The aim is for the student to tackle issues that they can relate to their key users, and present fully resolved solutions. The objective of the Final major project is to not only present a physical product solution, but also to understand the larger influences of the supporting network and system in which their final product is to operate.

Students are encouraged to explore their chosen target group and to begin to understand the experiences and challenges faced by their users through a variety of immersive, participatory and empathic methods of research. By undertaking tasks and role playing certain activities the students are placed in a position of experiencing their environment as the user.

Product Design

Recent projects that have been undertaken by students on the programme include: repurposing and designing products from waste perspex materials as part of a recycling project for the Victoria and Albert museum, designing seating for the Design Museum as part of a UK wide competition, as well as developing optical products for sports and heavy industry.

Final Year students have worked on a range of products including cycling repair kits, wheel changing kits for young female drivers, as well as Ski safety equipment, Prosthetic aids and projects that address environmental concerns such as saving water and reducing waste in first and third world situations.

“...design isn’t just about making something look good. Design enables a company to invent and project innovative concepts that enhance human interactions and experiences.�

Hartmut Esslinger (founder of Frog Design)

Visiting Crits: Julia Simpson, Darryl Newport Special thanks to: Julia Simpson (ENGIE) and Darryl Newport (Sustainability Research Institute)

www.uel.ac.uk/Undergraduate/Courses/BSc-Hons-Product-Design

P187  PRODUCT DESIGN

Students: Y1: Alejandra Erazo Sotelo, Casper Junior Viriri, Dennis Alba, Samuel Ikhuoria, Y2: Bartosz Sardowski, Siddranth Chowdry, Samuel Hughes, Tharek Islam, Wen Rouh Teoh, Jonad Basra, Carlo Negro Y3: Charles Cawdron, Michael Showole, Ahmed Salah, Hoi Kit Choi (Bill), Rrahman Tobli, Francesco Folletti

P188  PRODUCT DESIGN

Victoria and Albert Museum Recycling Project Presentation: pd.1 Exhibition Stand. pd.2 Marketing Display Board Front (Sam Hughes) pd.3 Wen Rou Teoh presenting work to Julia Simspson and Darryl Newport pd.4 Carlo Negro presenting material samples for his lighting design. pd.5 Sam Hughes discussing his revised marketing display board enabling the display of multiple posters. pd.6 Casper Viriri discussing the development processs of his V&A themed watch straps design.

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P189  Product Design

V&A Design Project (Level 4 and 5 students: pd.15 Alejandra Erazo Sotelo, presenting limited edition exhibition themed project. pd.16 Bartosz Sardowski and Tharek Islam presenting their Exhibition lighting design pd.17 Samuel Ikhuoria presenting his Sunglasses project pd.18 Students and Staff from Product Design pd.19 Exhibition display

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P190  PRODUCT DESIGN

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P191  Product Design

pd.20/21 Sunglasses design project pd.22/23 Jonad Basra British themed coasters set and stand pd.24/25 Umbrella Coaster/ coaster rack pd.26 Exhibition lighting design (Bartosz Sardowski and Tharek Islam) pd.27 Wen Rou Teoh ornate lasercut clock display pd.28-30 Sam Hughes participated in a European Erasmus Exchange in Braunchsweig in Germany as part of his studies on the Product Design course. Sam was the only student from the University to undertake the exchange.

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P192  Product Design

RSA Award winner 2016

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Polyproplene

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Product Locations Fold out handles rest on bath or sink rim

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140mm Materials: Polypropylene and Rubber Injection Process: Overmould

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pd.31-32 Ahmed Salah was the Prize winner for the RSA Student Design competition for his design for the Muslim ritual of “Wudu”. His product, assisted individuals to undertake the ritual at the same time as significantly reducing the amount of water used. “Wudu” is undertaken prior to prayer as a means of purification, and is undertaken 5 times a day.

Carlo also participated in a short work placement during the Easter Break working for as well as visiting Italian Product and packaging design studio Reverse during the Milan Furniture Fair.

P193 Product Design

Success Stories:

pd.33-36 Carlo Negro was runner up in 3rd place for the Starpack student packaging design awards for his packaging design to encourage the user to choose their own food stuff. The BBQ self assembly pack “BBQ Its in the bag” was a fun way of encouraging participation by the user to create their own ideal bbq combination. Carlo also designed the packaging for the products for inclusion in the pack.

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Success Stories: pd.37-39 Jonad Basra won a Silver Star Starpack Award for his entry ‘Quality Street Matchmakers’

// Exist ing packa ging

Nestle Quality Street Matchmakers Chocolate Pack Size: 130g

// 2D Idea t ion

// Mo delmaking Process

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Success Stories: pd.40-42 Jonad Basra also won a Gold Star Starpack Award for his entry ‘Circular saw blade - Verto-x’. Verto-x was also awarded the DS Smith Packaging 2nd place award

“Best in Show: The genius is in the simplicity of this structure that securely contains sharp blades, enables easy access and re-use. More than this, the pack works in-store being instantly recognisable as a blades-pack and appeals as much to the professional user as the DIY-er. Superb use of corrugated board for a product that would otherwise be in rigid plastic. The graphics are beautifully printed and simply communicate the contents”.

Quote: Starpack Design Awards

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Success Stories: pd.43-46 Charles Cawdron was successful in obtaing a University “Going Global” Scholarship to undertake research fro his design project in the Alps in France. Charlie’s project was looking at designing a product for “Off Piste” Skiers to warn them about potential Avalanche risks, weather changes and a mutlitude of other safety updates.

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Product Design Presentations, Workshops and Outreach Projects pd.47-53 Staff from the Product Design Programme have worked with a wide variety of Schools and Colleges this year, working together to explore and understand about product design and the various processes involved in developing User Centric products. Schools included: Joe Richardson School, Heathcote School, Mary Erskin’s School Edinburgh, Leighton Sixth Form College We would like to thank all of the Staff and students for their engagement and enthusiasm

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BA Interior Design Year 1&2

Rashid Ali Programme Leader

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‘Project work seeks exploratory, poetic and imaginative solutions to enhance and develop your creative talents and design skills.

Design is taught in parallel to a range of studies including representation and computing, technology, design history and theory & professional studies to prepare you successfully for employment. This provides an educational and creative framework that enables you to become exceptional designers.

The idea of ‘designing’ and ‘making’ is always central to the course’s activities and ethos.’

Interior Design Rashid Ali, Luísa Alpalhão, Bruce Irwin, Anastasia Karandinou

The BA (Hons) Interior Design programme, running for second year at UEL has seen further development and a considerable increase in enrolment since last year. This provides an educational and creative framework that enables you to become exceptional designers. The idea of ‘designing’ and ‘making’ is central to the course’s activities and ethos.

Project work seeks exploratory, poetic and imaginative solutions to enhance and develop your creative talents and design skills. Design is taught together with a range of supporting studies including representation and computing, technology, design history and theory & professional studies to prepare you for employment.

The first year students were introduced to projects that enabled them to develop fundamental skills such as drawing, modelling, writing, and different digital representational techniques. Such skills encouraged the students to develop confidence in processes that are integral to designing poetic interior spaces of varying functions and scales. The two main projects for the year were species of spaces – a material and spatial analysis and redesign of their room and the design of a set for a traditional fable for the stage in the Young Vic Theatre in London.

Field trip 2016: Berlin

Second year students began the year by undertaking rigorous studies of exemplar retail spaces with detailed drawings and large-scale models. This enabled them to explore and grasp how spatial concepts and material treatments can form distinctive, bespoke retail spaces that are functional for displaying and presenting products, but are also unique retail experiences for visitors.

This was followed by collaboration with the owner of a boutique shop in Shoreditch. They surveyed the existing space and developed diverse and distinctive concepts that responded to the scale of the space and to the brand and particular products sold by the Saboye boutique.

In February both first and second year students went on a field trip to Berlin for an organised tour of a number of fantastic examples of contemporary and historical interior and architectural spaces. These included the Neues Museum, Dutch Embassy, Neue Wache, Konzerthaus concert hall, the Reichstag and Bikini Berlin retail space. These yearly visits abroad, and more regular visits to sites and spaces of interest in London are integral part of the learning experience and compliment the intensive learning culture within the school.

id.1 Dilem Bulut

BA ID Y1&2

Students: Y1: Vincent Terang, Natasha Priest, M. Ivan-Wuche, Charlotte Williams, Russell Ellis, Firat Pirpudak, Soraya Mahmoud, Catalina Andrea Anton, Sohpie Robinson, Abdul Bahri, Francis Katenga, Megan Dulai, Dilem Bulut, Elif Cevirme, Laisha Marker, Sarah Bowen, Monique Ishmael, Gabriele Burbaite, Syria Jackson, Natasa Ferenczova Y2: Mark Da Silva, Lyuboslava Peruhova, Charlotte Tope, Ebru Targan, Irene L. Pedro, Paulina Azakli, Shariffah Bogere, S. Stankevicuite, Anderson Perdomo, Olivia Jones, Marzia Argiolas Special thanks to Guest Tutors: Sophia Limpari

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Stage Set Design project, Year 1: id.2 Dilem Bulut id.3 Natasha Priest

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Stage Set Design: id.4 Natasha Priest id.5 Sophie Robinson id.10-11 Syria Jackson

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id.13-14 Charlotte Williams id.15 Simona Stankeviciute id.16 Andrea Anton id.17 Group work, Year 2 exploratory model id.6 Ava Illiyanova Peruhova id.7 Shariffah Degere id.9 Charlotte Williams

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id.18-19 Natasa Ferenczova

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Masters Programmes

MRes Architecture

Reading the Neoliberal City Dr Douglas Spencer

“The market in London is completely reconfiguring the city, with over 300 towers under or awaiting construction across the city. Many of these are luxury apartments going up in privatised, gated enclaves.

Who is going to live in these places? Who are the figures populating the developers’ hoardings?

Who can afford to live in these fantasy worlds?”

Anna Minton, The Guardian, 2016.

“Contemporary architecture, in thrall to the same ideas of liberty as those promoted in neoliberalism, has furnished itself with the opportunity to design and build for the continued expansion of the logic of the market into the worlds of work, education, culture and consumption.”

Douglas Spencer, The Architecture of Neoliberalism, 2016 This course, which analyses and critiques the impact of capitalist neoliberalism within the city, is based at UEL’s Dockland’s campus ‐ a pioneer area for neoliberal models of development and a key site for study for the course. Taught by acknowledged experts in their respective fields, the programme examines neoliberal ideologies and policy, investigating their effect on urban layout, property markets, architectural form and social justice.

While the course is located within UEL’s architecture school, we welcome applicants from different backgrounds and disciplines. Equivalent to the first year of a PhD, the course is led by Doug Spencer and Anna Minton, and has two key components. Spencer’s modules focus on critical writing about the city and its architecture, while Minton’s investigates contemporary policy and politics. Students also write their own thesis.

The course is full or part time and will begin in September. Successful completion of the course will be equivalent to the first year of a PhD and it is envisaged that some students may wish to continue onto a PhD. More information: Anna Minton: a.minton@uel.ac.uk Douglas Spencer: divlab1@me.com Alan Chandler a.chandler@uel.ac.uk

P213 MASTERS MRes

Landscape Architecture

MA Professional Landscape Architecture, Graduate Diploma Landscape Architecture

Dr Bridget Snaith CMLI

John Beardsley describes landscape architecture as an “expanded field,” a discipline bridging science and art, mediating between nature and culture.

At UEL, through design studio, live projects, and investigation of theory, we are now beginning to explore key issues in contemporary life - migration, inequality, climate change, urban growth, food security - through Landscape Architecture, employing knowledge, tools and models in use, and in development globally.

We investigate our understandings of these ideas with passion and commitment; we explore the ways in which landscape, nature and place are socially, as well as physically, ‘constructed’. We seek to develop critical awareness and personal understanding of landscape, and from this, to cultivate an individual, considered approach, primarily to the design of publicly accessible places. Our teaching supports the acquisition of the skills and knowledge that we know are relevant to professional practice now, while developing personal trajectories for the future, within this broad professional field.

The Professional Landscape Architecture courses at UEL are in their first year of accreditation by the Landscape Institute, the professional body for Landscape Architects in the UK. This year saw three students, all of whom had no previous experience of spatial or other design disciplines starting the Graduate Diploma, on both the full time route,

completing theory, technical studies and design in one year, and the part time route, commencing with theory and technical studies in year one. The Graduate Diploma is a ‘conversion’ route into the profession from any other degree subject.

The MA in Professional Landscape Architecture is a programme for those who already hold either a Graduate Diploma or Bachelors Degree in Landscape Architecture. The MA leads directly into the Landscape Institute’s ‘Pathway to Chartership’.

A ‘straight through’ programme from Graduate Diploma into MA is in development for 2016/17.

“..there is no singular nature ...only natures. And such natures are historically, geographically and socially constituted...

Once we acknowledge that ideas of nature are fundamentally intertwined with dominant ideas of society ... the project of determining what is natural becomes as much a social & cultural project as it is purely scientific.”

Phil MacNaghten & John Urry “Contested Natures”

s, stainless ble m: 4cm) es. trance of ffers only 5cm, riser: t rubetectable

The whole structure is like an exhibition, lays along the side of the building and claims attention from the streetside. Planting is part of the stair system in a built container made of the same materials as the stairs.

Southbank riverside Concrete, large and small units mixed White steps with detectable warnings for blind and partially impaired pedestrians.

The steps of the stairs are not very high (16cm) and each step is very wide (60cm) therefore they rather function as a link between the two spaces: the museum and the river path to balance out the difference between ground levels.

Because the space is not disturbed by any other street objects, the designers only placed a few, light (diam: 3,5cm) handrails for those who are imbalanced or less able to change directions. Disabled path practically goes round the drainage.

The stainles steel handrails contain lights as the space does not propose there would be need for handrails, the lights are built in to avoid accidents and for those who might have difficulties judging the heights of the steps.

The handrails also contain warning for cyclists who think of taking advantage of the lonely handrails and lock their bikes against them.

As no parking is available for bikes in the neighbourhood and this space is very busy especially during good cycling weather conditions, the warning makes perfect sense. The print quality however, seems to be less resistent to the weather.

Special thanks to: Mark Lemanski, muf: Design studio Johanna Gibbons, Neil Davidson, J & L Gibbons : Field visit Kate Digney, Levitt Bernstein: Construction site visit.

LDA Design, student support, Northala Fields

This is a staircase that serves as seating as well as stairs to approach the riverfront. The seatings were added later. The seatings are added to the bridge wall side of the stairs, it may be safer and less windy. Also it provides a nice transition between the stairs and the wall.

P215 MASTERS Landscape

Students: Graduate Diploma: Leslie Crombie, Erika Alexovics, Solomon Obigbesan

The materials were chosed to be durable and considerate of slippery weather conditions. There are safety stripes against slipping, stable handrails with almost unnoticable attachments to the poles in the middle to be accessable for pedestrians moving from both directions. Seatings are made of wood, and are of comfortable height, and placed out of the way of tresspassers.

East Village South to River Lea Wood, concrete with stainless steel handrails

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P216 MASTERS Landscape

Reports, technical, field and preliminary investigations: la.1 Technical study, London field trip - Steps an Ramps, Erica Alexowics. la.2 Planting Study Erica Alexowics. la.3 London Parks study, Leslie Crombie la.4 Study model, London Docklands project, Leslie Crombie la.5, 6, 11 Technical study, London field trip - Walkways, Leslie Crombie.

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P217 MASTERS Landscape

P218 MASTERS Landscape

Major Design Project, Silvertown, Leslie: la.7 Landscape Masterplan 1:1250 la.8 Study model, land bridge la.9 Walkthrough visualisation, from Westferry Road la.10 Concept Masterplan 1:1250

ee enclosure for details

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P219 MASTERS Landscape

MA Architecture + Urbanism Alan Chandler

Our teaching is centred on the interface of social and spatial structures, on people and place.

Preparation for practice integrates essential technical, philosophical, regulatory and practical knowledge as baseline skills that enable the final thesis to critically extend beyond expectation.

Students must construct with both materials and ideas.

A spectrum of specialisms engage with place in a manner that recognizes the complexity of social and environmental interaction, these areas of knowledge develop through the year, gaining fluency and depth.

The specialist areas of teaching on offer to our students are: Participatory Design: Tactics for engagement and elaboration of socially grounded architecture.

Digital design innovation: advanced modelling utilizing digital tools to develop and realise form.

Urban Realm – Urban Policy: The relationships between built form and social policy as a context for design Inclusive Landscapes: spatial design strategies for technical and social integration.

Carbon Conscious Construction: manual fabrication at 1:1, material sourcing, performance and re-use.

Constructed Heritage: The technical and philosophical significance of current and historical built fabric.

Critical Histories: A comprehensive overview of architectural history and the history of ideas.

Through the duration of the programme the students strategic awareness develops into a strategic understanding. Decision making and technical innovation develop from and relate to wider socio-political contexts, grounding the design work and the critical task of detailing to make tangible connections to wider architectural ideas. Form is the result of a strategic engagement with people and place, not a substitute for it nor an image of it.

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.

P221  URBAN DESIGN

VISIT www.uel.ac.uk/Postgraduate/Courses/MA-Architecture-and-Urbanism

URBAN DESIGN OPEN STUDIO

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Module Leader Christoph Hadrys

The Urban Design course is the design intensive masters for alternative urbanisms at the University of East London. It 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 through design projects.

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 time-lines, to enable more dynamic and generative urban processes, allowing a much wider range of people to take part in building cities.

Above: Formal informal community in Marrakech, by Christoph Hadrys

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

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 Diploma 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.

Above: Evening souk in Marrakech, by Christopher Bishop

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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.

COMPUTATIONAL ARCHITECTURE

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Module Leader Gilles Retsin

Set within an Object-Oriented framework, the MSc Computing and Design investigates computational design strategies for an architecture of increased heterogeneity. In contrast to holistic, systemic and parametric fields, the studio investigates messy, local object-oriented forms of bricolage and assemblage. Computationally, the focus is on developing generative, but object-focused design methodologies, looking mainly at ideas of agency and physics. Students will research methodologies to embed physical constraints into heterogeneous and essentially autonomous “agential objects� as a kind of typologies. The year is structured in a series of projects and experiments exploring computational design methodologies in a context of information density and heterogeneity.

top: HexStrata, Gilles Retsin, above: Cutlery Set, Eragatory

Exponentially increasing possibilities of new manufacturing technologies like 3D-Printing allow to register previously unseen amounts of heterogeneity and information in matter. Inspired by concepts from information science and objectoriented ontology (OOO), diverse concepts such as OOO, resolution, heterogeneity are connected to the idea of increased information-density.

Computational design methodologies focus on concepts like assemblage and discreteness, rather than organism and continuity. These processes are set in a messy and discrete work flow, not as a single meta-computational process, but more as a plethora of methods and objects. Through establishing a rigorous connection between objectoriented ontology, computation, and informationdensity, the course attempts to create a framework for understanding computational design and architecture in a manufacturing context with the potential for extreme resolution and information density.

SUSTAINABLE ARCHITECTURE

The MA Architecture and Urbanism Sustainable Architecture programme is highly critical of energyand carbon-based debates on sustainability. You will be actively equipped with philosophical, intellectual and qualitative tools to balance the quantitative, and to allow for informed critique of the nebulous and poorly defined ‘greenwash’ that characterises much thinking in this area.

The programme addresses the “what’s”, “why’s” and “how’s” of environmental design, at both the architectural and urban scales. It explores the relationship between environmental and formal design, and the effect of that developing relationship on the future of sustainable architectural practice. It does this through three taught modules followed by the thesis, which may be a sustainable design portfolio, dissertation, illustrated report or participation in a live build low carbon project with a critical reflective text.

The programme is located in the new School of Architecture, Computing and Engineering in Docklands, the biggest redevelopment area in Europe. It takes advantage of the University’s London location with visits to architectural sites as well as lectures and visits linking with the culture of the city.

Its teachers are abreast of current developments in the field and currently working on publications, conferences and other projects.

top: ZGF architects. Photo by Benjamin Benschneider

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Module Leader Alfonso Senatore

ARCHITECTURE AND HERITAGE

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Module Leader Maria Segantini

The commodification of cultural expression is utterly prevalent. For cultural practices such as music, its marketization results in saturation exposure – ‘overplay’, the mechanism for inducing boredom regardless of significance in order to stimulate desire for the new - leaving the authenticity or originality hollowed out. This is the mechanism of cultural consumption.

For heritage, the notion of ‘cultural consumption’ is particularly damaging. There is usually only one of any heritage artefact or place. As such it succumbs to ‘overplay’ very readily, but once ‘restored’ or ‘adapted’ becomes locked in a cycle that takes it further and further from its own authenticity.

Culturally significant buildings become overlaid with an ‘experiential history’, the stimulation to see heritage anew, enacted at an industrial scale.

We are increasingly divorced form not only the fabric of heritage, but more seriously from the cultural and social participation that our historic environments can still provide. When we remove the social and political engagement from heritage we see regeneration projects that are little more than

cultural asset stripping, co-opting the evidence of social relations into a commodified, picturesque space for investment.

Students on the programme are asked to consider conservation as a o political and philosophical issue as much as a technical one – we operate critically in order to explore the political dimensions of heritage architecture, its cultural significance and tactics for alternative interpretations of how historic buildings are protected, sustained and remain relevant to contemporary cultural production.

Working with Sara Crofts, Head of Historic Environments at the heritage lottery fund, we discuss wider conservation ideas through the detail of a range of international case studies. The HLF require clear statements of social benefit in grant funding heritage projects - understanding how they operate and the drivers behind their value judgements is a starting point for the students as they consider the context and value of projects such as the Lloyds Building, the Pikionis pathways at the Acropolis, the Neues Museum or the Olivetti Showroom.

top: Palacio Pereira. Muro Muestra n.05, C.Puga, P.Velasco, A.Moletto, A.Chandler above: Torre Massimiliana, Venice. C+S Architects. Photo: Marco Zanta

MASTER THESIS

MA Architecture and Urbanism offers a choice of thesis submission formats – written dissertation, design portfolio or design and build depending upon the specialist modules chosen and the students own interests and goals.

Bark Live-Build is an example of the design and build option.

There is currently an enormous chasm between architectural education and the on-site application of architecture, where students can graduate from university with very little understanding of construction terminology, materials, or technical detailing. BARK LIVE-BUILD 2015 provides students the chance to acquire these skills on a real construction site, enhancing their technical understanding to take forward into their architectural careers.

This workshop requires students to combine design-talent with management, construction and fine-carpentry skills, to ensure that the building is delivered on-time and to the highest possible standards.

The workshop is organised, managed and facilitated by Studio Bark Director and UEL Technical Studies Tutor, Wilf Meynell, in conjunction with TRADA’s University Liaison Manager, Liz Turner. It’s a fantastic opportunity for the students to get away from their computer screens and ‘hands-on’ with a real building project.

The whole build is sponsored by BSW who are supplying us with UK sourced carcassing timber and lending their film crew to document the whole workshop. The film will premier at the Timber Expo later in the year.

For more information on Bark Live Build visit www.studiobark.co.uk/2015/05/bark-live-build-2015-apply

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Module Leader Alan Chandler

PhD in Architecture + Design Dr Renee Tobe

The School of Architecture, Computing and Engineering developed a strategic research voice for REF 2014 based on key areas of practice within Architecture and the Built environment.

This responded to the UEL research theme of Sustainability Science and Technology and Social Equality and Justice, Human Rights and Security.  Three areas of overlapping interest frame the selection of potential PhD Scholars: Smart Cities and Heritage (how the city of the past is fundamental to the city of the future), Sustainable Cities and Construction (material and technical provenance and purpose for social benefit), together with Resilient Cities and Civic Engagement (practice based education for the direct benefit of stakeholders – the University in the community).  PhD and Masters programmes play a critical role in the development of a louder, sharper voice on this in relation to Urban Design, Policy, Heritage and the definition of what sustainable architecture is or should do.

Sample of students and topics: Esra Alhamal: The Significance of Islamic Patterns in Interior Design This research is an in depth study of the history of Islamic geometric and biomorphic patterns between 1250 and 1800. The study will include the spatial relevance of the patterns and the spiritual value

behind them. The research will create a timeline about the development of patterns across Islamic dynasties to track -in images- the simplicity and complexity of patterns. The aim of this research is to produce a list of guidelines for the use of those Islamic patterns while considering their spatial, spiritual and cultural values. The guidelines will be tested on the Islamic section of the Victoria and Albert Museum to understand the practicality and validity of the suggested guidelines. Supervisory Team: A. Chandler, B. Snaith, H. Abdalla Camillo Amaral: Urban Micro - Utopias: Assessing contemporary conditions for rebellious architecture This dissertation aims to assess contemporary possibilities for architecture to repurpose its social role. The research will make a theoretical critique of the profession, in order to trace back the assumptions that has made architecture into a hierarchical mode of imposing social order, a simulated form of ideology and a form of immaterial slavery of architects itself. This archaeology of the profession aims to reposition architecture as an instrument of rebellious practices. Supervisory Team: D. Spencer, A. Chandler, R. Karthaus, H. Abdalla Umut Gedik: Regeneration through Cultural Reuse This research is proposed to provide better understanding of business regeneration effects

Fatemeh Rostami: A Place for Culture: Case Study Yazd, Iran The overall aim of this research is to learn from both the historic quarter and more contemporary development in Yazd, Iran. The research will suggest proposals to improve local urban design impact. It is expected that by researching and understanding the local life, needs, spatial practices, and analysing the relationship between the old and new parts, that are currently quite separate will help to decipher efficient and new methods and knowledge of urban design for future development of cities; as well how traditional cities can better accommodate these contradictions in accordance with their resident’s needs embracing local geographical factors.

Supervisory Team: R. Tobe, C. Hadrys, R. Karthaus Ranyl Rhydwen: Hempcrete’s Dynamic Thermal Efficiency An investigation and quantification of hempcrete’s effective rate heat transfer under varying environmental conditions. Responding to an increasing need for healthy, moisture handling, fuel efficient and long lasting buildings this research proposes that the thermal performance of hempcrete and binder type as porous building materials are effective measurements to establish the relation between density and hyrothermal performance, and can establish the influence of climate type on hempcrete optimum density. Supervisory Team: D. Newport, R. Tobe Wei Shi: Title: Domestic energy efficiency & LowCarbon Retrofit As an extension of study in my Master’s, I will still target on Low-Carbon Retrofit as my research area.

After preliminary studies in relevant field, I realize that there’s still plenty improvements can be made

towards energy simulation tools and householder’s engagement of Low-Caron Retrofit. Supervisory Team: H. Elsharkawy, A. Chandler, H. Abdalla Manos Zaroukas: Co-evolutionary SelfOrganising Systems; Designing with Growing Neural Gas The motive of this research stems from the ubiquitous use of computation within design and the euphoria that computations’ generative capacities could introduce novelty in architectural design. That was one of the basic premises behind the appropriation of computational models that simulate the functioning of the human brain to mimic the creativity which is to introduce novelty in human The main vehicle to explore creativity in artificial neural nets as computational models is novelty.

A concept so elusive that is hard to pin down a concrete definition. Novelty is related to newness, to new. It is often related to change and innovation, to evolution or revolution. Something that comes from the outside. North gives three characteristics to novelty, relative (new as coming from the past), radical (completely new) and absolute (Utopian) novelty (North 2013 For Manuel Delanda new qualities and new capacities emerge in the world.

Supervisory Team: A. Brimicombe, R. Tobe Olga Zekiou: The Genesis of the Mycenaean Citadel; A Philosophical Quest for the Origins of the Architectural Forms The aim of this research is to reveal the manner by which architectural forms in ancient Greece are expressed in the creation of the city. The subject of its inquiry is the genesis of the Mycenaean citadel.

The Mycenaean citadel that was defined by its quadrangular square and the altar set in the great circle of the mounted hills on the horizon, expresses the squaring of the circle or the quaternity of the one. Supervisory Team: R. Tobe, A. Stephenson

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of cultural reuse of historic landmark buildings and developing the existing theories of impact assessments by taking into account the values and perceptions of local businesses and stakeholders.

Supervisory Team: A. Chandler, M. Segantini, H. Abdalla

University of East London School of Architecture, Computing and Engineering Dockland Campus E16 2RD T+44 020 8223 2041 F+44 020 8223 2963 www.uel.ac.uk