Architecture Yearbook
BSc Architecture (RIBA Part 1) MArch Architecture (RIBA Part 2) Construction Project Management (CPM) Building Information Modelling and Project Management (BIMPM)
Copyright © 2020 All Rights Reserved Architecture at Queen’s Queen’s University Belfast Edited & Designed by Dr. Seán Cullen Laurence Lord Cover Image by James McMonagle - The Reactivation of a Forgotten Coast ISBN: 978-1-909731-91-2 No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of the copyright owner. www.architectureatqueens.co.uk
CONTENTS
Introduction Year in Review Public CoLab 2020
PhD Research
4. 6.
Qiyao Han Aisling Shannon Rusk Conor McCafferty
BSc (Hons) Architecture BSc Architecture BSc Stage 1 BSc Stage 2 BSc Stage 3
14. 16. 24. 34.
Vertical Studios -Architecture & Montage -Civic Stage -Holding Pattern -Intergroup Architecture -Timbre Timber BSc Technology & Environment BSc History & Theory
46. 56. 66. 76. 86. 96. 106.
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110. 114. 118.
M.Arch Master in Architecture M.Arch Studios -Northern Neitherland -Scaffold -Streetspace - Sailortown -In Praise of Adaptation -When We Talk About the Weather M.Arch Technology & Environment M.Arch Humanities Dissertations M.Arch Professional Skills
122.
CPM & BIMPM INTO Skills Bazaars Collaborations New Future Cities Programme
218. 222. 226. 228. 234.
124. 142. 158. 172. 188. 202. 214. 216.
3.
YEAR IN REVIEW DR. SARAH A LAPPIN - HEAD OF ARCHITECTURE Welcome the 2019-2020 End of Year Show Book, a celebration of the commitment, hard work and creativity of our students and staff for this, the most unusual of academic years.These are extraordinary times. It’s been an extraordinary year for Queen’s University School of Architecture. On the opening day of the academic year 2019-2020, we were the first discipline in the university to declare
a Climate Emergency. We began Welcome Week with Climate Awareness training for all new students, and we immediately began to introduce climate action into every module across all courses. Our longstanding, strong studio culture - based in our nearly unique ability to provide students with permanent workspace - provides us with the community of learning we need to confront and address these serious challenges head on.
1.
1. Public CoLab
4.
Introduction
Our approach to the Climate Emergency will also benefit from our position as a school of architecture intent on working with and for communities, both local and international. This year alone, our students provided a three-dimensional approach problems posed by partners as varied as the Historic Environment Division of the Department of Communities to the Irish Centre for Human Rights, and we worked with other universities and learned bodies ranging from Hanze University of Applied Sciences Groningen to the Instituto Universitario de Lisboa. We experienced several other significant new developments this year, from a beautiful new workshop in the David Keir building, to the largest group of Stage One students in a decade; from being reunited with our Construction Project Management and Building Information Modelling colleagues to hosting our largest ever cohort of international students. We welcomed new staff with expertise in future cities, professional practice and cutting-edge façade design, and we began to plan a suite of new master’s courses for the coming years. We have joined the university’s Pathway Opportunity Programme to help widen participation in our profession, and we continued to engage with colleagues in various disciplines across our university. We have been sorely tested this year, too. In February 2020, we lost one of our final year undergraduate students, Naomi Lynn. Her colleagues showed great generosity of spirit to Naomi’s family and to one another as they coped with such a devasting blow so close to Naomi’s completing her degree. Remembering Naomi’s
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unique positivity, energy and wonderful sense of humour kept us going; we dedicate this book to her. Then, like every school of architecture, we were forced to survive the fast-changing world of Covid 19. Our students and staff didn’t just manage to cope with losing their studio and workspaces, but they went further. We sustained our usual high intensity teaching and learning whilst simultaneously making uniforms and PPE for NHS staff, inventing tools to help make working environments safer, and one of our students even continued to work part-time on the wards of Belfast hospitals. We couldn’t be prouder of the resilience and support of one another through such difficult circumstances; we’re honoured to be able to celebrate this level of commitment to our larger community. Queen’s Architecture is fortunate to have a significant body of local, national and internationally-based staff and students, alumni and wider family including employers, external examiners, guest critics and other critical friends to help us address the urgent need to find solutions to Climate Change and to help us rise responsibly from the global pandemic in the coming months and years. We are adapting to new forms of teaching, learning and research; as creative problem solvers, we will be at the forefront of efforts to tackle these challenges without fear in the short, medium and long term. You’d be hard pressed to find a more formidable group of thinkers, practitioners, and designers than Queen’s University Architecture. These are extraordinary times, but we are determined – and prepared -- to thrive in them.
5.
Students & Staff Aaron Vinaccia, Abigail Kyle, Adam Crawford, Aisha Holmes, Alexandra Judd, Alexandra Powell, Alice Poole, Amy Cross, Andrew Frew, AngelaFaye Sagayno, Anna Crew, Anthony Armstrong, Bartlomiej Ziobrowski, Beth Doris, Bridget Bale, Cameron Morris, Caris Coulter, Chantelle Niblock, Christopher Connolly, Ciara McMullan, Ciaran Gormley, Cillian Cassidy, Claire Martin, Claire Shortt, Claudia Tatiana Cabrera Antezana, Connor Fitzsimons-West, Conor Boyle, Czarinah Lou Malate, Daniel Cassidy, Daniel McCambridge David Russell, Dearbhail O’Neill de Bruin, Dylan Mc Callion, Egle Dinapaite, Ellen Cassidy, Emilia Mikaela Arroyo Olmedo, Emma Kelso, Emma Stewart, Erin Simpson, Francesca Homard, Gabriel Paranhos Varonil Sousa Gemaque, Gerard MacAllister, Grainia Long, Han Ye, Hannah Miskimmon, Haojie Kong, Haridhya Ragav Rajsundar, Harry (Haily) Shin, Hasan Uddin, Henry McCracken, Holly Boal, Hope Brown, Imogen Miller, Isabella Innocenzi, Isabelle Schulz, Ivy Wijaya, Jane McCullough, Jasna Mariotti, Jessica Scott, Jia Xuan See, Jiaxin He, Jing Ting Lim, Jiyoung Ko, Joe O’Hagan, Joel McNeill, John Doherty, John Moran, Juliette Moore, Kate Low, Katie Jackson, Lara Magee, Lauren Gonsalves, Lauren Laverty, Laurie McCullough, Lee Leonard, Louis Cunningham, Lucy McCarthy, Luke McMahon, Madeleine Weymouth, Malgorzata Migut,
6.
Man Lok Matthew Lui, Mark Campbell, Maria Louiz Keciri, Mariana Alvim Da Cunha, Matthew McAllister, Matthew Newman, Max Baillie, Megan Ross, Minhyeok Seo, Moe Tun, Natalie Yee Kiat Cha , Nathan Cilona, Nathaniel Maher, Nehal Jain, Niamh Douglas, Niamh Gill-Ryan, Niamh McLaughlin, Nicola Hughes, On Na Tai, Orla Corr, Orlagh Casey, Palak Ish Narang, Philip Richardson, Qianhui Wang, Qiyao Han, Rachel Brown, Radostina Kostova, Rhona Edwards, Robbie Crymble, Ronan Keith, Ryan McCracken, Samuel Farrell, Sara Sokolowska-Katzer, Sarah Lappin, Sarah Teggart, Sarah Devlin, Seamus O’Leary, Seán Cullen, Sean De San Jose, Shing Man Yiu, Shreya Karnani, Sierra Pearce, Sitong Guo, Siún Crumley, Sorcha Drummond, Stavroula Perdikaki, Tanith Byrne, Tim Jones, William Warnock, William Brady, Xingyu Liu, Xue Cong Tee, Yamon Kyaw, Zoé Mangan & Zoé Bertel.
With thanks to Jane McCullough, Nicola Hughes, Claire Martin, David Russell, Grainia Long, Claire Shortt, Lucy McCarthy, Qiyao Han, Andy Frew, Aisling McGeown, Jonny McGuinness, Craig Jackson, David Mahaffy, Professor Adrienne Scullion & Councillor Peter McReynolds.
Public CoLab 2020
PUBLIC COLAB 2020 - EXPLORING THE IMPACT OF THE ECOLOGICAL CRISIS IN BELFAST DR. NUALA FLOOD / DON DUNCAN Public CoLab is an annual week-long collaborative design research event at Queen’s University Belfast (QUB) that harnesses the energy, skills and creativity of the architecture staff and students to explore a particularly pertinent spatial phenomenon in Northern Ireland. In this year’s edition, Public CoLab explored how ecological crisis in Belfast might affect the city’s built environment such as housing, street scapes, public parks, transport, business and agriculture. Collaboration this year was expanded to include master’s students in Broadcast Production at QUB, who brought specific skills in audio / video production and in making publicly-accessible narratives to the project. Making the global local, this is how Public CoLab 2020 seeks to address this issue by illuminating the many impacts ecological crisis has and will have on Belfast, based on the facts of climate science today. The overall aim of the project was to collectively produce a series of specific, locally-rooted narratives that would inspire people to think more about how exactly the ecological crisis might impact Belfast. As such, all of the projects reflect on the potential impact that the projected high greenhouse gas emissions will have on Belfast in 2100: a 94cm sea level rise; a 5°C to 6°C temperature rise; more frequent extreme weather events; and more extremely hot days. With the help of subject experts from academia,
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the public sector and charitable organisations, and working in small heterogeneous, inter-disciplinary groups, the students explored how global warming will produce significant challenges here, in Belfast. From these challenges they imagined solutions: sustainable agriculture, creative flood management, green transport, species migration, household overheating and climate justice. The content of each of these themes was discussed with each of the external partners and experts. They worked with the students to map these macro-level, abstract issues onto microlevel, specific locations throughout the city. At the end of the project’s week-long span this year, each of the Public Colab’s teams showcased their multimedia collaborative works in The Sonic Lab at QUB’s Sonic Arts Research Centre (SARC), a public event officially inaugurated by Deputy Lord Mayor of Belfast, Councillor Peter McReynolds. The multimedia outputs – short films, soundscapes, interactive props, screen presentations, choreographed installations – were all brought to life through live, spoken-word interventions by the students, utilising the 48 strategically-located loudspeakers and multiple large screens of the Sonic Lab. This gave the presentations a deeply immersive nature which enabled the audience to be fully engulfed in the visionary future narratives being presented.
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1. 1. Sustainable Transport Adaptation at Albert Bridge
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Public CoLab 2020
2.
2.
2.
2. Flooding Futures at the Waterfront
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1.
1.
1. 1. High Tech Farming Futures in Carryduff
10.
Public CoLab 2020
2.
2. 2. Urban Heat Island Effect at Royal Avenue
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1. 1. Future Biotic Climatic Refugees
12.
Public CoLab 2020
2. 2. Urban Heat Island Effect at Royal Avenue
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1.
1. Intergroup Architecture - Group Work
14.
Introduction
BSC (HONS) ARCHITECTURE DR. NUALA FLOOD - DIRECTOR OF THE BSC ARCHITECTURE PROGRAMME With its strong studio culture, the BSc (Hons) Architecture encourages professionalism, creativity, research and analysis, critical thinking, independence and a range of communication skills from sketching to 3D printing. The programme is articulated around three interconnected and overlapping areas: Architectural Design and Communication, History and Theory of Architecture and Technology and Environment. Study trips, joint studio projects for second and third year students, live projects for first and fifth year students and connections with planning and engineering students all enrich the curriculum. A well-established architecture society (ArchSoc) provides another cultural and social agenda of lectures, workshops and other events for our students. In Stage 1, students explore design in a studio environment, contextualised by courses in history/ theory and technology/environment. The course is modular in structure, allowing students to learn and develop their skills through an extensive range of topics, which grow in complexity throughout the year. In Stage 2, architecture students build upon the drawing skills developed in their first year and incorporate digital techniques into the creation of a housing design project. Looking at the themes of urban density and shared resources, this project asks students to imagine new ways of living sustainably. In the second semester, Stage 2 students join Stage 3 in vertical design studios. Each studio sets a different
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brief, informed by the tutors’ internationally-renowned research agendas. Students are encouraged to approach that brief with design methods unique to that particular studio. The Stage 3 first semester project emphasises reuse, economy, and adaptability, delivered through a series of discrete spatial design exercises culminating in an adaptive reuse proposal. Our recent declaration of a Climate Emergency brings the question of technology even further into focus. For architecture as a profession it clarifies the challenges we face in the coming years to build in a more holistic and sustainable way. In doing this we open up a plethora of new opportunities for thinking about how and what we design. Consequently, students through their skill as designers, have the chance to develop novel and engaging solutions to age old problems such as context, inhabitation, space, form and comfort. Although the pandemic limited in-person teaching, the students’ have produced impressive and thought provoking projects. The BSc Architecture staff have demonstrated exemplary professionalism and dedication in establishing online teaching across the programme and in supporting our students in the development of their architectural propositions. I am proud to present some of the outcomes of their imaginative and creative endeavours here in this publication.
15.
BSC ARCHITECTURE STAGE 1 Students Anthony Armstrong, Emilia Mikaela Arroyo Olmedo, Max Baillie, Holly Boal, Conor Boyle, Tanith Byrne, Claudia Tatiana Cabrera Antezana, Cillian Cassidy, Daniel Cassidy, Natalie Yee Kiat Cha, Orla Corr, Caris Coulter, Adam Crawford, Amy Cross, Siún Crumley, Robbie Crymble, Louis Cunningham, Sean De San Jose, Egle Dinapaite, Beth Doris, Niamh Douglas, Sorcha Drummond, Connor Fitzsimons-West, Niamh Gill-Ryan, Lauren Gonsalves, Jiaxin He, Francesca Homard, Isabella Innocenzi, Alexandra Judd, Ali Jumah, Shreya Karnani, Maria Louiz Keciri, Jiyoung Ko, Haojie Kong, Radostina Kostova, Yamon Kyaw, Abigail Kyle, Lauren Laverty, Lee Leonard, An Liang, Xingyu Liu, Kate Low, Man Lok Matthew Lui, Gerard MacAllister, Nathaniel Maher, Zoé Mangan, Dylan Mc Callion, Matthew McAllister, Daniel McCambridge, Henry McCracken, Ryan McCracken, Luke McMahon, Ciara McMullan, Joel McNeill, Malgorzata Migut, Imogen Miller, Cameron Morris, Palak Ish Narang, Matthew Newman, Seamus
16.
O’Leary, Dearbhail O’Neill de Bruin, Gabriel Paranhos Varonil Sousa Gemaque, Sierra Pearce, Alice Poole, Alexandra Powell, Haridhya Ragav Rajsundar, AngelaFaye Sagayno, Minhyeok Seo, Harry Shin, Erin Simpson, Sara Sokolowska-Katzer, Xue Cong Tee, Sarah Teggart, Moe Tun, Hasan Uddin, William Warnock, Madeleine Weymouth, Ivy Wijaya, Han Ye & Bartlomiej Ziobrowski. Staff Stage Co-Ordinators; Dr. Jasna Mariotti & Dr. Chantelle Niblock. Dr. Mark Mukherjee Campbell & Dr. Sean Cullen. With thanks to Shane Birney, Emma Campbell, Mark Donnelly, Julian Manev & Brett Mahon.
BSc Architecture - Stage 1
A central objective of Stage 1 Architecture at Queen’s is making spatial interventions that are fundamental to design in cities. During the first year, students are encouraged to pursue architectural ideas and to develop a diverse set of skills, whilst engaging in critical discussions about place, context, scale, process, structure and materiality. This year, in semester one, students were encouraged to think about the implications of design on place and context, through drawing and model making. The first project, One Room, saw students identify and analyse the public nature of a room, and explore the spatial relationships of shared spaces in an urban context. In the second project of the semester, Opening the Cabinet of Curiosities, each student was inspired by a personal interest to develop a unique brief, explorative process, and a design for a room, also situated on urban site in Belfast. The final project in the first semester, Re-forming the coast, was located in Portrush, a seaside town on the north coast of Northern Ireland with a unique landscape and culture. During this project, students were asked to rethink the existing relationship between the town and the sea by designing a Biodiversity Information Centre that aims to enhance public awareness of the loss of natural habitats through imagined spaces, responding to the challenging coastal conditions.
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In semester two, design projects were primarily research driven. The first, Public CoLab, was a collaborative research laboratory, that used the power of architectural design research to investigate complex issues of public concern in Belfast. This was a joint one-week project with master’s level students. During project two, Reimagine and Remake, students re-imagined a wildlife box for a bird, hedgehog, or bat. In teams, they explored creative design processes and developed a design through making full-scale prototypes in timber, metal and cast concrete. The third project, Spatial Biography, saw students researching and analysing the spatial practices of a maker (who would later become the client), helping to build up a detailed understanding and informed brief for the final individual project. The final project, Makers in Belfast, required students to design a live/work unit for the maker (which they surveyed in the previous project). Designs were based on a detailed understanding of the urban context and the requirements of the individual client. Disrupted by the unprecedented global crises, the theme of this project – live/work – was fully realised by the students as they themselves continued to develop their design whilst working from home, supported by online design tutorials.
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1.
1. 1. Niamh Gill-Ryan
18.
BSc Architecture - Stage 1
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3. 2. Francesca Homard 3. Alexandra Judd
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1.
2. 1. Sara Sokolowska-Katzer 2. Gabriel Paranhos Varonil Sousa Gemaque
20.
BSc Architecture - Stage 1
3.
4. 3. Birdbox (bottom left); Adam Crawford, Siún Crumley, Egle Dinapaite, Jiyoung Ko, Haojie Kong, Kate Low, Matthew Newman, Seamus O’Leary Birdbox (top right); Robbie Crymble, Niamh Douglas, Jiaxin He, Abigail Kyle, Cameron Morris, Dearbhail O’Neill de Bruin, Haridhya Ragav Rajsundar & Ivy Wijaya 4. Malgorzata Migut
Architecture at Queen’s
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2. 1. Daniel Cassidy 2. Lauren Gonsalves
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BSc Architecture - Stage 1
3.
4. 3. Daniel Cassidy 4. Cillian Cassidy
Architecture at Queen’s
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BSC ARCHITECTURE STAGE 2 Students
Staff
Fahad Al-Omrani, Natalie Anderson, Arjun Bharj, Maria Boyle, Aisha Buzeid, Grace Carney, Chloe Cassidy, Zoey Je Yi Chan, Zhen Cheah, Hoay Qing Chow, Arianna Clements, Connor Curley, Hannah Doran, Kayla Enos, Katie Faulkner, Jessica Forsythe, Hollie Hamilton, Joshua Harper, Annie Hart, Sameera Kaddoura, Caitlin Lavery, Peter Lawson, Ket Yang Leng, Chit Hei Leung, Tsz Fung Ma, Ayshwarya Madhu, Nathan McCreery, Eve McFarlane, Ellen McKeag, Shannon McKinney, Suman Miah, Méabh Minnis, Rachel Murphy, Luke O’Brien, Alexis Payot, Caitlin Reid, Anna Shaw, Kyaw Swar, Michael Wilson, Karin Wiman, Tak Wong, Deirdre Yoong & Yanwen Zhu.
Stage Co-Ordinators; Dr. Niek Turner & Dr. Rachel O’Grady Rachel Delargy, Aíne McEnoy, Tarla MacGabhann & Mark Todd. With thanks to Aoife McGee, Chris Upson, Nigel Murray & Fearghal Murray.
1.
1. Rachel Murphy
24.
BSc Architecture - Stage 2
In the first semester of Stage 2 students were asked to explore future housing. The project articulated a shared ambition to re-inhabit Belfast city centre, which has seen significant depopulation over the past several decades. Through analysing innovative modes of living, students considered housing as a model for sharing resources, as a key part of any urban strategy for tackling the climate emergency. Working on two sites situated in the rich dense urban context of Belfast’s Cathedral Quarter this approach led them to consider housing that contributed to sustainable communities: environmentally, socially and economically. To facilitate their engagement with the complex question of housing throughout both the research and design phases of the semester students were asked to research and then propose housing with reference to three scales: 1. Housing and the City Housing involves complex social, political, economic, land use, and cultural issues and in most cities, housing forms the majority of the built fabric that gives spatial coherence to what we refer to as the public realm, ie., streets and squares. In other words, streets and squares are typically shaped, contained, and overlooked by housing. 2. Housing and Neighbourhood Housing is a community of residents. So, in addition to housing being an aggregate of private homes
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and having a role to play at the level the city (these might be thought of as private and public roles), housing is also a community of neighbours who share staircases, halls, courtyards, gardens and communal gathering spaces. 3. Housing and Home Housing is about homes and every apartment or house requires several things, including; some private open space, access to natural light and ventilation, storage, a suite of rooms, privacy, warmth, and comfort. More than this, homes are about creating spaces in which people can dwell in a way that enhances their day to day lives. The exploration of these themes was supported by a field trip to London early in the semester to study a range of urban housing typologies, and a focus on housing in students’ parallel modules of history and theory and technology. Through this intensive focus on housing, the students were able to propose a broad range of housing types which addressed a range of questions, including; how new housing might provide several different types of accommodation for a range of individuals, methods for enhancing the ground level streetscape, how resources might be shared in order to respond to the climate emergency and how shared circulation, congregation and outside areas might be given purpose and encourage models of community or commoning.
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2. 1. Alexis Payot - City Living Research 2. Karin Wiman - City Living Research
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BSc Architecture - Stage 2
3.
4. 3. Karin Wiman - City Living Precedent 4. Ellen McKeag - City Living Precedent
Architecture at Queen’s
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1.
2. 1. Rachel Murphy 2. Anna Shaw
28.
BSc Architecture - Stage 2
3.
4. 3. Grace Carney 4. Zhen Cheah
Architecture at Queen’s
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1. 1. Arjun Bharj
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BSc Architecture - Stage 2
2. 2. Hoay Qing Chow
Architecture at Queen’s
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2. 1. Zoey Je Yi Chan 2. Natalie Anderson
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BSc Architecture - Stage 2
3.
3. 3. Ayshwarya Madhu
Architecture at Queen’s
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BSC ARCHITECTURE STAGE 3 Students
Staff
Oguzhan Aydin, Yusra Abdel Maji Barakat, Jordan Barrow, Nirali Bhatt-Roberts, Pauric Callaghan, Hannagh Hannagh Gaeul Cha, Jazlynn Kai Lynn Cheah, Adam Connolly, Monika Ebrahimi, Louisa Evans, Antonia Faußner, Pearse Gillan, Nadine Graham-Mulgrew, Aimee Grant, Darragh Hamilton, Darragh Haughey, Megan Kershaw, Cameron Keys, Hadiel Ornella-Khuri, Charlotte Ronsman-King, Alex Kok Jia Yunn, Pey Kwang, Hoi Harriet Lam, Rolandas Laurinavicius, Tommy Tsun Hin Li, Mandy Lim Min Tze, Oliver Chenyang Liu, Amy Loughridge, Jenny Khin Sandar Lwin, Naomi Lynn, Lauren McCormack, Rory McCormack, Jack McElroy, Caitlin McCormick, Jahn Kyle Mercado, Miceal Murphy, Michael O’Neill, Stuart Petticrew, Sian Reed, Nicole Ching Ki Sen, Caitlin Smyth, Adéla Vagová, Alice Wilson & Jack Wilton Cooley.
Stage Co-Ordinators; Prof. Michael McGarry & Clare Mulholland. Catherine Blaney, Susie Brown, Dr. Nuala Flood & Laurence Lord. With thanks to Fearghal Murray, Orla Maguire & Chris Upson.
1. 1. Visit to Studio Nine Dots during study trip to Amsterdam
34.
BSc Architecture - Stage 3
Architects enable by intervention, intervening with ideas and imagination with space and material to make places that support human activity in all its complexities. This semester the Stage 3 students focused for the first time on adaptive reuse of existing buildings, reimagining existing buildings for a purpose other than that for which they were originally intended. In doing so they had to consider the immediate change their interventions would have in the current context and consider the next lives the buildings might have on foot of a future architect’s interventions. The sites were based in Belfast, which is currently undergoing change in its urban diagram with a new university campus moving into the city. Previously, the south of the city core was heavily weighted with QUB learning spaces, now there is the addition of a new university campus to the north the city core, this change will establish a new balance. Responding to
2.
the changing diagram, the students examined two sites to the north and south of the city core, working with existing buildings to design reading rooms and propose interventions that respond to the brief at macro and micro scale. Students had to consider how the existing buildings will knit into the urban university campus and investigate their potential contribution to the public realm - as spaces that sustain civic life. As reading rooms, students had to imagine a variety of spaces within which to work /sit / daydream, spaces that responded to various user preferences, - across the spectrum of working patterns, incorporating space that allowed isolation, and spaces supporting social interactions. The success of the reading rooms would be the result of synthesis of space, structure, material, and light. Through design research each took a position on their individual approach to adaptive reuse and realised it through their design interventions.
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2. Frames Building on UU Campus 3. Elmwood Building on QUB Campus
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2. 1. Adam Connolly 2. Adéla Vagová
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BSc Architecture - Stage 3
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3. 3. Charlotte Ronsman-King
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1. 1. Nadine Mulgrew Graham
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BSc Architecture - Stage 3
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2. Megan Kershaw 3. Aimee Loughridge
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39.
1.
2. 1. Alex Jia Yunn Kok 2. Alice Wilson
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BSc Architecture - Stage 3
3.
4. 3. Jazlynn Kailynn Cheah 4. Naomi Lynn
Architecture at Queen’s
41.
1.
1. 1. Nicole Sen Ching Ki
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BSc Architecture - Stage 3
2. 2. Tommy Tsun Hin Li
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2. 1. Michael O’Neill 2. Monika Ebrahimi
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BSc Architecture - Stage 3
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4. 3. Aimee Grant 4. Rory McCormack
Architecture at Queen’s
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ARCHITECTURE & MONTAGE STAGE 2 & 3 Students
Staff
Stage 2; Natalie Anderson, Elena Cariaga, Hannah Doran, Jessica Forsythe, Sameera Kaddoura, Peter Lawson, Alexis Payot & Anson Wong.
Dr. Niek Turner & Catherine Blaney.
Stage 3; Aimee Grant, Darragh Hamilton, Jazlynn Cheah Kai Lynn, Naomi Lynn, Kyle Mercado, Hadiel Ornella-Khuri, Stuart Petticrew & Alice Wilson.
Mary Watson, Fearghal Murray, Dr. Nuala Flood & Dr. Rachel O’Grady.
With thanks to
1. 1. Territory Map of Carnlough
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BSc Architecture - Vertical Studio - Architecture & Montage
“The Greeks have left us the most perfect examples of shot design, change of shot, and shot length (that is, the duration of a particular impression). Victor Hugo called the medieval cathedrals “books in stone” (see Notre Dame de Paris). The Acropolis of Athens has an equal right to be called the perfect example of one of the most ancient films.” Sergei Eisenstein (c. 1937) Montage and Architecture, in Towards a Theory of Montage 2010, pp. 59-60
Montage as Brief In this studio adopting Montage as a method of exploring site and design the students worked in the context of Carnlough a small costal town in Antrim which contrasts the rural and urban with the industrial and the domestic. In the context of this unique location and the climate emergency students researched this unique landscape from a range of viewpoints and based on this intensive research, selected their own sites and brief undertaking to create either a future catering college or a material research facility. This juxtaposition of site, brief and research elicited a broad range of responses.
Montage as Architecture Montage has the potential to clarify a way of thinking about architecture. Not just, as identified above by Soviet film director Sergei Eisenstein, as a sequence of spaces experienced in unfolding perspective, but also in several other modes, including; how landscape, infrastructure and urban environment overlay over time, how materials and technology juxtapose and intersect with each other in a buildings construction and, significantly, how throughout
Montage as Process Finally, using Montage as a way of approaching process throughout the semester, students were encouraged to develop their designs through a potential juxtaposition of scales, light, time and media. As a method this offered a way of gathering, analysing and then organising material in a way which was not precious but instead dynamic and adaptive. Adopting this multi-layered approach enabled students to craft a range of unique spatial
the design process we iteratively draw and model a project in order to synthesise a diverse range of concerns and influences into a coherent whole.
and material responses in this environment, which is captured between landscape, streetscape and the ever-shifting boundary of the sea.
Architecture at Queen’s
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1.
1. 1. Alice Wilson
48.
BSc Architecture - Vertical Studio - Architecture & Montage
Cookery workshop model as an object
DESIGN FOOTPRINT ON FIGURE GROUND MAP
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1. Cookery workshop model as an object
1.
DESIGN FOOTP
Library model as an object
Architecture at Queen’s
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2. 1. Darragh Hamilton 2. Hadiel Ornella-Khuri
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BSc Architecture - Vertical Studio - Architecture & Montage
The rst settlers of Carnlough were interested in the abundance of flint found in the area. Flint carving was a technique used for survival to create tools for hunting and digging. It was through my research on the history of flint that influenced my decision to build an archaeology centre that also exhibits archaeological artefacts to celebrate the rich history of Carnlough. It also influenced the form and design of my building with roof and clerestory windows mimicking the light found at the top of a flint mine.
Concept Model 1:200
Massing Model 1:500
L
CONCEPT MODEL 1:200 ON SITE
CONCEPT MODEL 1:200 ON SITE
The rst settlers of Carnlough were interested in the abundance of flint found in the area. Flint carving was a technique used for survival to create tools for hunting and digging. It was through my research on the history of flint that influenced my decision to build an archaeology centre that also exhibits archaeological artefacts to celebrate the rich history of Carnlough. It also influenced the form and design of my building with roof and clerestory windows mimicking the light found at the top of a flint mine.
The rst settlers of Carnlough were in the abundance of flint found in the a carving was a technique used for s create tools for hunting and diggin through my research on the history o influenced my decision to build an a centre that also exhibits archaeologic to celebrate the rich history of Carnlo influenced the form and design of m with roof and clerestory windows mim light found at the top of a flint
The rst settlers of Carnlough were i the abundance of flint found in the carving was a technique used for s create tools for hunting and diggin through my research on the history o influenced my decision to build an a centre that also exhibits archaeologic to celebrate the rich history of Carnlo influenced the form and design of m with roof and clerestory windows mim light found at the top of a flint
3.
3.
vy from cales.
3. 3. Alexis Payot
Architecture at Queen’s
First Floor Plan 1:200
51.
Concept Model 1:200
Massing Model 1:500
L
h a ontour ed d to pace.
1.
2.
3. 1. Aimee Grant 2. Hannah Doran 3. Peter Lawson
52.
BSc Architecture - Vertical Studio - Architecture & Montage
4.
4.
4.
4. Jazlynn Cheah Kai Lynn
Architecture at Queen’s
53.
1.
1.
2. 1. Kyle Mercado 2. Natalie Anderson
54.
BSc Architecture - Vertical Studio - Architecture & Montage
3. AXONOMETRIC 1:30
3. 3. Stuart Petticrew
Architecture at Queen’s
55.
CIVIC STAGE : THE PERFORMANCE OF TRADE STAGE 2 & 3 Students
Staff
Stage 2; Wilfred Chit Hei Leung, Hoay Qing Chow, Shannon McKinney, Aisha Buzeid, Caitlin Lavery, Annie Hart, Arjun Bharj, Grace Carney & Hollie Hamilton.
Dr. Rachel O’Grady & Mark Todd. With thanks to Emma Campbell, Prof. Rob Gilles & Max Klaentschi.
Stage 3; Nadine Graham-Mulgrew, Tommy Li Tsun Hin, Michael O’Neill, Rolandas Laurinavicius, Nirali BhattRoberts, Jack Wilton Cooley, Sian Reed & Pey Wen Kwangy.
1.
1. Jack Wilton-Cooley
56.
BSc Architecture - Vertical Studio - Civic Stage
This studio views the city as theatre, and architecture as public set design. Students will draw the city as a collection of performances: the material settings anticipating, inspiring and transforming the way people interact. Trade as Performance: The deep culture of small trades appears to be facing extinction. According to research by Google, the future shopping experience will be ‘zero friction’: even having to get out a credit card will be too much hassle. However, it is predicted that as our need to ‘go shopping’ decreases, our craving for human interaction will spike.
neglecting the fundamental purpose of cities, which take diversity, conflict, ‘friction’, and turn them into culture. Trade and bargaining have always been integral in the negotiation of different points of view. The public theatre of the trade legitimises and dignifies the transaction. Civic Stage views the city as a collection of performances: not for ‘fun’ or ‘entertainment’ but for citizens to make themselves heard and to negotiate their place within the collective. For this reason, Civic Stage recoils in horror from the ‘friction free’ trajectory of retail and looks to alternative models of trade: cooperatives, re-use, swaps, local currencies, or off-grid self sufficiency.
What should the city be for when fast fashion is
With an emphasis on drawing the city as a stage set, students will start by looking at precedent market stalls as set design, studying the performance of the trade at human scale. Then, still at the scale of the stall, students will examine the ritual of a particular trade that they have researched in order to design their own set piece for the interaction. This will lead to a building for the performance of trade, and the trade
dead? Most of us immediately turn to current trends in leisure, fitness and wellbeing. However, this is
of performing, as the commercial day ends and the city is filled with events.
In other design disciplines, students are looking past the era of ‘fast fashion’ and wasteful consumerism. Yet in planning and architecture we are still talking about Retail with a capital R as though it is an economically sustainable land-use.
Architecture at Queen’s
57.
1.
2. 1. Precedent Study, Mercado Municipal de Santa Maria de Feira Sections - Group work 2. Rolandas Laurinavicius
58.
BSc Architecture - Vertical Studio - Civic Stage
3.
4. 3. Precedent Study, Mercado Municipal de Santa Maria de Feira Plan - Group work 4. Tommy Tsun Hin Li
Architecture at Queen’s
59.
1.
2. 1. Tommy Tsun Hin Li 2. Annie Hart
60.
BSc Architecture - Vertical Studio - Civic Stage
3.
3. Hollie Hamilton
Architecture at Queen’s
61.
1.
2.
3. 1. Caitlin Lavery 2. Nadine Graham-Mulgrew 3. Tommy Tsun Hin Li
62.
BSc Architecture - Vertical Studio - Civic Stage
4.
3. 4. Sian Reed
Architecture at Queen’s
63.
1.
2. 1. Aisha Buzeid 2. Jack Wilton-Cooley
64.
BSc Architecture - Vertical Studio - Civic Stage
3.
4.
3. Arjun Bharj 4. Hoay Qing Chow
Architecture at Queen’s
65.
HOLDING PATTERN STAGE 2 & 3 Students
Staff
Stage 2; Arianna Clements, Katie Faulkner, Brandon Tzs Fung Ma, Ayshwarya Madhu, Suman Miah & Rachel Murphy.
Dr. Nuala Flood & Laurence Lord.
Stage 3; Jordan Barrow, Adam Connolly, Monika Ebrahimi, Mandy Lim Min Tze, Caitlin McCormack, Lauren McCormack, Míceál Murphy, Charlotte Ronsman-King & Caitlin Smyth.
Prof. Tom Jefferies, Clare Mulholland & Dr. Sarah Lappin.
With thanks to
1. 1. Adam Connolly
66.
BSc Architecture - Vertical Studio - Holding Pattern
In this studio, titled Holding Pattern, the students formulated propositions for an Archive of Vulnerable Futures at a seafront location in Newcastle, County Down, on a site that is particularly susceptible to the impacts of global warming. The overarching pedagogical goal was to encourage the students to contemplate the long term, multifaceted and contextually specific future/s associated with the making of an architectural intervention within the context of the climate emergency. Therefore, after reviewing the scientific literature, they were challenged to consider the evolution of this location up to the year 2100, and to reflect on the potential impact a projected high greenhouse gas emission: a 94cm sea level rise; a 5°C to 6°C temperature rise; more frequent extreme weather events; and more extremely hot days. A detailed site study was conducted under three themes: (1) ecology and natural environment, (2)
Architecture at Queen’s
sociocultural, and (3) the built environment. Through researching the likely impacts of global warming here in Newcastle, the students identified what we may lose in the future and what we ought to start conserving now. Their architectural propositions became the preservation mechanisms for the items, objects, scenarios and/or situations that were identified as being particularly defenceless to eradication as a consequence of climate breakdown. Throughout the process, the students translated their emergent conclusions into formal schemes through the medium of drawing, diagramming, collage & model making. The projects were refined through an iterative design and making process. This publication presents a selection of the students’ propositions, ranging from a community plastic recycling plant, to an oyster market to a network for cultivating local biodiversity.
67.
1.
1.
2.
2.
3.
3.
1,2&3.
3. 1. Ecology & Environment - Research Booklet 2. Cultural, Social & Economic - Research Booklet 3. Physical & Built Environment - Research Booklet
68.
BSc Architecture - Vertical Studio - Holding Pattern
1.
1.
2.
2.
3.
3.
2.
1.
Architecture at Queen’s
69.
1.
2. 1. Caitlin McCormack 2. Monika Ebrahimi
70.
BSc Architecture - Vertical Studio - Holding Pattern
3.
3. 3. Charlotte Ronsman-King
Architecture at Queen’s
71.
1. 1. Ashwarya Madhu
72.
BSc Architecture - Vertical Studio - Holding Pattern
2.
3. 2. Katie Faulkner 3. Míceál Murphy
Architecture at Queen’s
73.
1.
1. 1. Caitlin Smyth
74.
BSc Architecture - Vertical Studio - Holding Pattern
2.
3. 2. 2. Rachel Murphy
Architecture at Queen’s
75.
INTERGROUP ARCHITECTURE STAGE 2 & 3 Students
Staff
Stage 2; Zhen Hong Cheah, Kayla Enos, Eve McFarlane, Mason Ket Yang Leng, Luke O’Brien, Fahad Munaf Sadoon Al-Omrani, Anna Shaw & Karin Gunne Ulrika Wiman.
Rachel Delargy & Tarla MacGabhann (Unit Consultant: Clare Mulholland).
Stage 3; Louisa Evans, Antonia Faußner, Pearse Gillan, Darragh Haughey, Megan Kershaw, Cameron Keys, Amy Loughridge, Jenny Khin Sandar Lwin & Alex Kok Jia Yunn.
Mark Hackett, Clare Mulholland, Prof. Michael McGarry & Chris Upson.
With thanks to
1. 1. Alex Kok Jia Yunn
76.
BSc Architecture - Vertical Studio - Intergroup Architecture
This studio continues to explore the challenges in a post conflict society. While conditions here have improved, the built environment remains scarred and lives stay shattered. The focus of the studio is on the contribution architecture can make to repair the invisible damage inflicted on the mental health and general well being of those who have suffered or have been affected by the Troubles. The brief was to design spaces for stillness, recovery and wellbeing, with the intention to take individuals away from the scene of their trauma, usually the city, to a place which provides recovery in the restorative context where the land, sea and sky meet. This year the lens through which we examined the healing space was Edge. We sought to discover new relationships between architecture, environment and landscape in order to reconnect patients with their surroundings. In parallel was an investigation into how a building’s envelope can be designed to accommodate an appropriate response to the challenge of climate change. Due to the sensitivity of the brief, careful consideration was paid to how edge was defined between each space, between inside and outside, and between proposition and landscape. Portrush is perched on the very northern edge of Ireland. The linchpin of the town is the harbour whose position between land and sea suggests the possibility of new beginnings, making it an appropriate choice for our site. On a practical level,
Architecture at Queen’s
the proximity to the sea required responses to address the prospect of flooding and coastal erosion. Group research involved modelling situations characterised by their liminal, marginal or edge condition. At its most obvious this was the building envelope, including the particular openings between inside and outside, whether this is threshold or window. The vocabulary of edge conditions became an initial topic of discussion for each project, from the double skin roof of Go Hasegawa’s House in Karuizawa wood to Ryue Nishizawa’s Garden and House, which played with the conventions of inside and outside. The direct connection with the environment was reflected in one proposal where marram grass grown on the building structure was used in the making of screens to divide spaces and provide solar shading, while at the same time affording patients material for weaving. A design for delicate overlapping roofs created a layered boundary between therapy rooms and community spaces set between a courtyard. Two projects worked with thickness of envelope to explore spatial opportunities in rammed earth and sandstone. Another examined the possibility of a kinetic envelope to draw up seaweed for private baths. The seaweed and kelp also offered shading and protection from natural light and sea breezes. The notion of edge, literally marginalised in our thinking, offers in reality a rich source of possibilities.
77.
1.
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3.
4.
5.
6.
7. 1. Louisa Evans - Paulo Mendes da Rocha & João de Gennaro - Casa no Butantã 2. Alex Kok Jia Yunn - Smiljan Radic - Wood House 3. Cameron Keys - Jørn Utzon - Can Lis 4. Amy Loughridge - Ryue Nishizawa - Garden and House 5. Kayla Enos - TEd’A Arquitectes - Jamie & Isabelle’s House 6. Anna Shaw - Niall McLaughlin Architects - Fishing Hut 7. Pearse Gillan_Ryue Nishizawa_Terasaki House
78.
BSc Architecture - Vertical Studio - Intergroup Architecture
8.
9.
10.
11.
12.
13.
14.
8. Karin Wiman - Mimar Sinan - Süleymaniye Salis Medresesi 9. Antonia Faußner - Kengo Kuma & Associates and UC Berkeley - Nest We Grow 10. Darragh Haughey - Go Hasegawa - House in Karuizawa wood 11. Eve McFarlane - José Antonio Coderch - Casa Ugalde 12. Mason Ket Yang Leng - Álvaro Siza - Boa Nova Tea House 13. Megan Kershaw - Pius Schweitzer - Martin Heidegger’s Hut 14. Jenny Khin Sandar Lwin - Glenn Murcutt - Arthur & Yvonne Boyd Education Centre
Architecture at Queen’s
79.
1.
1.
1. 1. Alex Kok Jia Yunn
80.
BSc Architecture - Vertical Studio - Intergroup Architecture
2.
2. 2. Eve McFarlane
Architecture at Queen’s
81.
1.
Key Perspective View (Second Floor, View in the Direction of Ice
1.
2.
1. 1. Antonia FauĂ&#x;ner 2. Pearse Gillan
82.
BSc Architecture - Vertical Studio - Intergroup Architecture
3.
4. 3. Karin Wiman 4. Kayla Enos
Architecture at Queen’s
83.
1.
1.
1. 1. Amy Loughridge
84.
BSc Architecture - Vertical Studio - Intergroup Architecture
2.
2. 2. Megan Kershaw
Architecture at Queen’s
85.
TIMBRE TIMBER STAGE 2 & 3 Students
Staff
Stage 2; Zoey Je Yi Chan, Josh Harper, Nathan McCreery, Ellen McKeag, Méabh Minnis, Deirdre Yoong & Teresa Yanwen Zhu.
Prof. Michael McGarry & Susie Brown.
Stage 3; Yusra Barakat, Pauric Callaghan, Hannah Gaeul Cha, Harriet Hoi Yan Lam, Oliver Chenyang Liu, Rory McCormack, Jack McElroy, Nicole Ching Ki Sen & Adéla Vagová.
Pedro Rebelo, Craig Jackson, Stephen Douglas, Allan Munro & Emma-Louise McCabe.
With thanks to
1.
1. Harriet Hoi Yan Lam
86.
BSc Architecture - Vertical Studio - Timbre Timber
Timbre Timber had three strands; the ‘idea of building’, a particular building programme and client, and timber as a material of construction: -The ‘idea of building’ is about how students might understand and position their designed work within its own narrative, within its social, cultural and professional framework. -The building and programme is the Sonic Arts Research Centre here in Queen’s; this complex building is now under consideration for alteration aspects of its purpose have now evolved from that which was originally envisaged. -Timber is the material of construction, as an area of collective research and as the means of delivery of individual design proposals. Group Research involved three weeks intensive group activity comprising: -Reading and reporting on texts and precedent buildings. -Documentation of the existing building including drawings and 1:50 model, a critique of the existing social areas, and the formulation of revised schedule of accommodation. -Documentation of timber within an atlas of timber construction.
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Design Constraints: -The ‘site’ is the footprint of the existing building and a strip on the south side up to 4 metres in depth that could be made available if the roadway was realigned -Timber frame linear loads could be applied to the concrete floor slabs without additional structural modification (as timber is relatively light) -New concrete (ie heavy) loads (acoustic labs) needed to be routed onto the existing reinforced concrete columns. -No additional weight or structural connection can be applied to the Sonic Lab -The size of the existing roof level plant need not be enlarged (even though the building is getting bigger) but can be relocated at a new higher roof level or left in place and is built over. -There is no overall height restriction given the precedent of the Ashby Building and the location of the building deep with the urban block. The intended learning focus was a 1:50 demountable model of the existing building into which students added their individual design proposals.
87.
1.
2. 1. Rory McCormack
88.
BSc Architecture - Vertical Studio - Timbre Timber
2.
2. 2. Hannah Gaeul Cha
Architecture at Queen’s
89.
1.
1. 1. Harriet Hoi Yan Lam
90.
BSc Architecture - Vertical Studio - Timbre Timber
2.
3. 2. Adéla Vagová 3. Pauric Callaghan
Architecture at Queen’s
91.
1.
2.
2. 1. Deirdre Yoong 2. Ellen McKeag
92.
BSc Architecture - Vertical Studio - Timbre Timber
3. 3. Méabh Minnis
Architecture at Queen’s
93.
1.
1. 1. Nicole Ching Ki Sen
94.
BSc Architecture - Vertical Studio - Timbre Timber
1.
1.
Architecture at Queen’s
95.
TECHNOLOGY & ENVIRONMENT BSc Module coordinators
Staff
Technology & Environment 1: Dr. Jasna Mariotti Technology & Environment 1: Keith McAllister Technology & Environment 3: Dr. Rachel O’Grady
Catherine Blaney, Jennifer Cromie, Rachel Delargy, Reenie Elliot, Jane Larmour, Julian Manev, Robin Mark, Gerard Tohill, Chris Upson & Guido Vericat. With thanks to Dr. David Hester & Dr. Jacek Kwasny.
1.
1.
1. 1. Culinary School, Carnlough - Natalie Anderson.
96.
BSc Architecture - Technology & Environment
The school’s approach to architectural technology and environment is that it is a contingent part of the design process. Throughout the undergraduate degree the work carried out in technology is intended to support and inform students’ individual design projects and to enrich the themes that students are studying at that particular stage. On top of the themes covered at each stage, in 201920 the technology and environment modules were reworked to better embrace the school’s adoption of the Climate Emergency. Stage Two, Technology & Environment is designed to further develop each student’s understanding of key principles in the related fields of building structures, construction and environmental design. Continuing from lessons and skills acquired in Stage 01, students are asked to advance their knowledge of structure and construction, in addition to progressing an understanding of environment and comfort. As the module’s principal aim is to further knowledge of the principles of technology and environment both within, and as part of architectural design, the Stage 02 Technology & Environment content closely aligned with the concomitant Architectural Design & Communication Modules. Lectures, studio sessions and assignments were therefore developed as a means to help each student critique design decisions relating to appropriate choices in materials, construction and technologies in respect of building design, regulatory standards, internal environment, occupant comfort and sustainability. In Semester 1 this involved interrogating a precedent before each student appraising their housing design against
Architecture at Queen’s
current Building Regulations whilst in Semester 2, students tested year-round environmental strategies for their design, alongside daylight and acoustic calculations for their key internal environments. In short: the Module aimed to enhance and support key design and reflective skills for each student in the intrinsically linked realms of architectural and technical design. In the first semester of Stage Three, students collaborate with Queen’s Engineering students and staff in order to learn about the structural challenges of adapting existing buildings for re-use. This starts with a group project analysing exemplar re-use projects, supported by lectures by staff from architecture and from engineering. Maintaining the input from both disciplines, students are asked to design a structural intervention within an existing building and to develop digrams and construction drawings to support their design. They are asked to analyse the economic and spatial implications of their intervention as well as the carbon footprint. In the second semester of Stage Three, students focus on the relationship between building envelope and interior environment. Starting with another group project analysing climate adaptive facades, students then work with a technology tutor to develop the envelope design for the individual design project they are developing in their Vertical Studio. They are encouraged to think about the particular way in which their Vertical Studio is addressing the Climate Emergency and to use their technology module to enrich this aspect of their project.
97.
1.
1.
2. 1. Mental Health Centre, Portrush - Kayla Enos 2. Plantuary, Newcastle, County Down - Rachel Murphy
98.
BSc Architecture - Technology & Environment
3.
4. 3. Sonic Arts Research Centre Studios Extension, Belfast - Ellen McKeag 4. Glass Recycling Centre. Derry-Londonderry - Arjun Bharj
Architecture at Queen’s
99.
1.
2. 1. Interior Environment - Nicole Ching Ki Sen 2. Section - Khin Sandar Lwin
100.
BSc Architecture - Technology & Environment
3.
3. 3. Adaptive Model - Cameron Keys
Architecture at Queen’s
101.
1.
1. 1. Section - Monika Ebrahimi
102.
BSc Architecture - Technology & Environment
2. 2. Interior Environment - Rory McCormack
Architecture at Queen’s
103.
1.
1. Section - Antonia FauĂ&#x;ner
104.
BSc Architecture - Technology & Environment
2. 2. Interior Environment - Adam Connolly
Architecture at Queen’s
105.
HISTORY & THEORY BSc Module co-ordinators
With thanks to
History & Theory 1: Dr. Sarah Lappin History & Theory 2: Dr. Mark Mukherjee Campbell History & Theory 3: Dr. Agustina Martire
Merav Amir (QUB - Geography), John Barry (QUB - Politics), Irene Bittles (QUB - Library), Dominic Bryan (QUB - Anthropology), Emma Campbell (QUB - Architecture), James Davis (QUB - History), Jasna Mariotti (QUB - Architecture), Rebecca Jane McConnell (QUB - Architecture), Thomas McConaghie (QUB - Architecture/Planning), Ciaran O’Neill (QUB Learning Development Service), Michael Pierse (QUB English), Tristan Sturm (QUB - Geography) & Maruska Svacek (QUB - Anthropology).
1.
1. Rolandas Laurivinicius
106.
BSc Architecture - History & Theory
There are many important reasons for studying the wide variety of Histories & Theories of Architecture. First of all, this way of understanding architecture allows designers to acknowledge the diverse forces and ideas that shape the historical and contemporary built environment and the design of buildings and cities. In addition to raising visual awareness, architectural history and theory bring students into contact with the social, cultural, religious, political, legal, and technical issues of the past, many of which have practical relevance today. Histories and theories also give architects a knowledge of and sympathy for the achievements of their predecessors. And finally, the history of architecture and the way it has been written represents the history of people through buildings and spaces; to follow this process in an informed manner can only serve to broaden the mind and stimulate intellectual curiosity. The history and theory modules aim not only to expand the knowledge and understanding of histories and theories of architecture but also provide a platform for development of the set of valuable skills of description, analysis and synthesis. We achieve this through research on specific topics and the translation of that research into essays and graphic material such as postcards, posters and pecha kucha style presentations. Critical and reflective practice are instrumental parts of this area. History and Theory of Architecture I is taught as a series of lectures giving an introduction to the history and development of architecture internationally from earliest times through to the present day. The lectures also investigate definitions of architectural theory and
Architecture at Queen’s
examine reasons why theory is important for designers. We also investigate the power of various types of source material and explore how to best structure ideas in written form. In Stage I, we start the collation of the Writing Portfolio, an important curation of students’ skills in writing. Building on the foundations established by the firstyear curriculum, the second-year course covers the major histories and theories of architecture across the twentieth century and up to the present day. The first semester focuses on the key housing projects of the Modernist canon and provides the historical and theoretical support for the first-semester design studio project. In the second semester, the course examines current and emerging trends in contemporary architectural practice. Topics covered range from the neo-avant-garde to urban and architectural design for the Climate Emergency, to postcolonial architecture of the Global South, and refugees and emergency architecture. The third year module provides an introduction to urban history and theory. It presents key ideas about the cultural, social, economic and political factors that shape the spatial and built structure of cities. The focus of the first semester is on the relationship between architecture and the city, the role of buildings in the urban fabric and the complexity of their context. In the second semester, guests from different disciplines discuss ideas around urban design, urban morphology, heritage, mapping, gender, class, politics, segregation and public space. All of these are discussed in the context of architecture and the city.
107.
1. 1. Hadiel Ornella-Khuri
108.
BSc Architecture - History & Theory
2.
3. 2. Nadine Graham-Mulgrew 3. Alex Kok Jia Yunn
Architecture at Queen’s
109.
PhD RESEARCH
Process oriented infrastructure for climate-driven forest migration through cities
Student Qiyao Han Supervisor Prof. Greg Keeffe With thanks to My supervisor Prof. Greg Keeffe, my parents Ting Han and Xumei Wang, my mentor Dr. Xiaoguang Liu at Harbin Institute of Technology, my colleague Dr Sean Cullen and Hao Wang, as well as Dr. Paul Caplat, Dr. Gul Kacmaz Erk, and Prof. Gary Boyd for their support and kind suggestions, and, finally, the Scholarship Council of the Chinese government for funding the research.
Global climate change is expected to shift the geographical distribution of tree species worldwide. Increasing empirical evidence has emerged showing that many tree species are already moving toward higher latitudes to track suitable climatic conditions. Yet, such movement cannot guarantee their survival, especially if the accessibility of suitable climates is highly constrained by species dispersal capabilities and human-created barriers. To assist forest migration, many efforts have been made to translocate tree species from their native ranges to locations where the climate is projected to be suitable in the future (known as assisted migration). However, there are concerns that such translocations may not be successful and may lead to unpredictable adverse consequences. This is because uncertainties in species’ distribution projections could cause a risk of moving species too far or not far enough. Within this context, this study develops a processoriented approach to map and design urban landscapes to facilitate forest migration under climate change. The focus lies on the connectivity of urban landscapes for effective seed dispersal. Since the migration of trees is a continuing process that does not rely on their future distributions, a processoriented approach could avoid projections of species’ future distributions and thus might be more feasible and manageable, as well as more robust to future climate change, than the current “goal-oriented” strategy of assisted migration. This study is guided by the following three research questions: (1) Why should we consider cities in the process of forest migration and what roles can urban landscapes play in the process? (2) How can forest trees migrate through urban areas, and
110.
PhD Research
more specifically, how can urban landscapes, as seed sources or stepping stones, contribute to the process? (3) How to design urban green infrastructure to facilitate forest migration and, more specifically, to promote seed dispersal and species’ range expansion across urban areas? A three-phase research methodology, which includes a transdisciplinary literature review, a mapping-based approach, and a research-by-design methodology, is proposed to answer each of the three research questions, respectively. The Greater Manchester area, which is one of the most urbanised regions in the UK, is selected as a case study site. Eurasian jays, Eurasian siskins, and coal tits are selected as the main seed dispersal agents in the study area.
of interconnected flow channels, which in turn allows for a more piecemeal form of landscape design to improve urban green infrastructure for climate adaptation. Moreover, this study will encourage researchers who currently work in climate-driven species migration to consider taking advantage of urban landscapes and will promote the cooperation between biologists, foresters, designers, and managers in urban planting to cope with the rapidly changing climate.
The results of this study demonstrate the potential of urban landscapes to facilitate climate-driven forest migration through cities. By collecting and integrating knowledge and information from multiple disciplines, this study suggests that cities could provide suitable climatic (urban heat islands) and environmental conditions for the persistence of outlier populations at higher latitudes than their
Publications
native ranges, thereby shortening or even eliminating migration lags in tree species. The proposed processoriented approach maps potential migration flows between urban woodlands in Greater Manchester, from the perspective of seed dispersal. Furthermore, by testing different afforestation strategies, this study reveals that the processes of forest migration at a metropolitan scale can be facilitated by creating small, distributed but functional-connected green spaces at site scales.
Sustainable Built Environment, 8(3), ahead-of-print. -Han, Q. and Keeffe, G. (2020) ‘Stepping-Stone City: Process-Oriented Infrastructures to Aid Forest Migration in a Changing Climate’, in Roggemma, R. (ed.) Contemporary Urban Design Thinking: NatureDriven Urbanism. Switzerland: Springer Nature, pp. 65-80. -Han, Q. and Keeffe, G. (Accepted) ‘Sharing the City with Biotic Climatic Refugees’, Bracket [on Sharing]. Available at: https://brkt.org/issue/contents/all/438/ sharing-the-city-with-biotic-climate-refugees/46/ bracket-on-sharing
The process-oriented approach can be used by designers to re-visualise urban landscapes as a series
Architecture at Queen’s
The research project has been published or accepted in the following books and journals and has won the “Best Paper Award” in the 6th Smart and Sustainable Built Environments Conference in Sydney.
-Han, Q. and Keeffe, G. (2019) ‘Mapping the Flow of Forest Migration through the City under Climate Change’, Urban Planning, 4(1), pp. 139-151. -Han, Q. and Keeffe, G. (2019) ‘Stepping Stones: Assessing the Permeability of Urban Greenspaces to Climate-Driven Migration of Trees’, Smart and
111.
1.
2. 1. Directions of tree migration - Many tree species will need to migrate through Greater Manchester during this century to tack suitable climatic conditions 2. The green network for seed dispersal - Urban greenspaces could provide potential pathways (stepping stones) for the movement of birds (seed dispersal agents)
112.
PhD Research
3.
3.
3. 3. Flows of forest migration before and after landscape interventions
Architecture at Queen’s
113.
PhD RESEARCH
Mouth-pieces of the Limit: Liminal Spatial Praxis in Israel/Palestine & Northern Ireland
This research explores the shaping of space within the divided/contested contexts of Northern Ireland and Israel/Palestine, exploring ways of producing space that challenge the ring-fencing of particular knowledges, practices and places. It stems from
Student Aisling Shannon Rusk Supervisors Prof. Ruth Morrow Dr. Gul Kacmaz Erk With thanks to SEUPB and the Planning for Spatial Reconciliation Project through which the PhD was funded.
the observation that there is often a disconnection between those who theorise space (planners and architects, for example, often referred to as experts) and those who have more lived understanding of a place. Despite often concentrated efforts to include the people who inhabit a place in the shaping of their spaces, those so-called experts hold significantly more power and authority. If the primarily theoretical and generalised knowledge of experts is privileged, it follows that the more visceral and specific knowledges of those who inhabit relevant places are omitted to some degree. Yet the experts’ knowledge is inevitably incomplete, and this becomes all the more problematic in places of political and social conflict. This research seeks out other ways of knowing and producing space in these contexts, asking: what if a broader knowledge base could be applied to the shaping of space in divided/contested contexts? This project seeks to step outside the internal discourses of the disciplines of planning, architecture, geography and urbanism in order to critically examine the role that built environment professionals play in divided/contested space. A lingering gap is exposed in the built environment literature around the inclusion of other ways of knowing space and the power relations involved in spatial practice. Many binaries are inherent in decision-making about space, for example expert/non-expert, us/them, here/there, in/out, official/unofficial, formal/informal. Such clear delineations belie fragilities in the established
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PhD Research
mechanisms for shaping space, leaving mainstream planning and architecture struggling to respond to deep social division. This is an exploration of power and resistance, marginality and practice in divided/ contested space. It asks what we can learn from productions of space in these contexts that resist binaries and erode boundaries. Theory is developed side-by-side with empirical research throughout the study, with each used to test and inform the other. Critical political, post-structural theory is applied to a broad range of literature across planning, architecture, urbanism and geography and to spatial practice, on the ground. The conceptual framework draws upon the philosophies of Michel Foucault, Henri Lefebvre and Michel de Certeau and the critical writings of bell hooks to explore how these themes play out in decision-making around deeply contested space. Knowledge is not considered to be the simple observation of unmediated truth. Rather, it is seen as a function of the production of subjectivity and identity, and central to the dynamics of power. Spatial practice is not understood as something undertaken by experts alone, or necessarily resulting in a physical outcome: it is performative and process-oriented, and everyone does it. Accepting, with social activist bell hooks, the assertion that marginal space can be a place of resistance, this research looks to the spatial margins – the seamlines, hinterlands and interfaces of divided/contested contexts, where binaries are rife and the same contestations inherent in all space are intensified, magnified, and deeply entrenched. From this overlapping interest in the production of knowledge and space and their margins or limits, which are viewed as intrinsic and inseparable, a central theoretical strand of liminality,
Architecture at Queen’s
or being in-between, develops. Particular instances of such praxes, empirically, in Israel/Palestine and Northern Ireland are identified, explored and critiqued through a rhizome of networks and connections established on the ground and through desktop research. Semi-structured interviews, and qualitative analysis of written and built output are employed to explore seven ‘spatial stories’, which include NGOs, a pedagogic initiative, community organisations, and individual practitioners/academics/activists, all working within challenging, marginal contexts that include borders, interfaces and West Bank refugee camps. These examples incorporate practices such as walking, mapping, making, defining and agitating to challenge established modes of production. From interrogation of the spatial stories and theory a concept of liminal spatial praxis emerges, which describes an agonistic navigation of the multiple thresholds between what is ring-fenced as accepted, privileged or ‘expert’ knowledge and that which is subjugated; between spatial practice in the exclusive, professionalised sense of the word and the allinclusive Lefebvrian/De Certian understanding; and in the leftover space between distinct places, so rife in divided/contested contexts. Liminal spatial praxis requires the relinquishing of control by those in positions of relative power, including architects, planners and spatial decision-makers, in order to open up other ways of knowing and practising in the vulnerable, changeable space of the margins. It is risky, disruptive, provocative, critical, reflective, hybrid, fluid, ambiguous, vulnerable, tactical and at times contradictory. It focuses on connection, resistance, presence and production, often involving humour, trickery and changing geographies. It can bring about radical change in the divided spaces of the margins.
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4. 3. Rhizomap of N.I. context 4. Peas Park, North Belfast, 2019
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PhD RESEARCH
Urban Sound Mapping in Sound Art and Built Environment Practice
My PhD research project drew urban sound mapping practices into dialogue with built environment practices: architecture, urban design, and urban planning. Contemporary sound maps typically take the form of point-and-click web map interfaces,
Student Conor McCafferty Supervisors Dr. Sarah Lappin (Architecture) Dr. Gascia Ouzounian (Music) Dr. Simon Waters (Music) With thanks to Department for Education and Learning for funding support. Wonderful friends and colleagues in Architecture, SARC, and the Recomposing the City research group. All the participants in the project and those whose work I studied but never had the chance to meet.
from which the user can stream or download field recordings. Many are co-created, distributing authorial agency among hundreds or even thousands of participants. However, while there are commonalities among sound maps, the practice does not follow any standardised approach: it is a locus of experimentation. Sound maps have emerged in the context of a wide range of scholarship and practice across sound art, sound studies, media studies, and acoustic ecology. My research situated the practice in new territories of architecture, planning and urbanism. My thesis examines sound maps epistemologically, unpacking the rich assemblages of knowledge they hold and the wide range of purposes that they exhibit. It presents a catalogue of web-based sound maps since the late 1990s, which serves as source material for a reading of sound maps as participatory platforms. This initial reading charts a recent history of sound maps as cultural phenomena that emerge from sonic practices, participatory practices, and new spatial media, and that exhibit heterogeneous purposes. Co-created urban sound maps foster a diffuse, restless quality of auditory attention across multiple scales, thus challenging any straightforward application, but nonetheless pointing to numerous possibilities for spatial analysis. The thesis also asks how sound maps can be used in urban pedagogy: as tools for teaching and learning about urban space. It examines top-down (vertical) as
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well as peer-to-peer (horizontal) modes of learning as
Publications
facilitated through sound maps. It further questions how sound maps can be incorporated into more
-McCafferty, C. (2019). Catalogue of Sound Maps,
formal teaching contexts with architecture students,
1997–2018. Published online by Recomposing the
for example as a method in site analysis and urban
City research group at http://www.recomposingthecity.
design. Through field experiments, it investigates
org/soundmaps
how acoustic cartographies can be applied in the context of distinct enquiries into urban space:
-McCafferty, C. (2018). Capturing Craigavon Soundmap. Published online by PLACE, Belfast.
integrating sound in a holistic public realm strategy
-McCafferty, C. and Meireles, M. (2018). Listening
(Linen Quarter, Belfast, Northern Ireland); as a method
to Life in (and around) Laurencetown: A Soundmap by the Keep Er Lit ASD Group. Published by LLTCA
of articulating the range of “sonic places” (Cusack, 2017) to be found in a city (Halmstad, Sweden); and as a means of appraising the intangible heritage
Community Association: https://www.lltca.com/
of a Modernist urban planning project (Craigavon,
-Conference paper at the Invisible Places/Sounding
Northern Ireland).
Cities conference, Sao Miguel Island, Azores, April 2017. -Morrow, R., O’Grady, R., & McCafferty, C. (Eds.) (2016).
The thesis concludes by proposing a new, speculative
Street Society 2016: Creative Activation. Queen’s
model of sound mapping that (1) is oriented towards
Architectural Press.
the localized, specific scales that are relevant in built environment practice (i.e. architectural and urban
-Conference paper at Ambiances, Tomorrow conference in Volos, Greece, September 2016.
sites); (2) is multimodal in the representational tactics
-Conference paper at conference paper at Writing
that it adopts, such that participants can contribute
Buildings, University of Kent, July 2016.
field recordings but also several other forms of visual
-Flood, N., & McCafferty, C. (2016). Street Society 2015: In the East Belfast Urban Village. (First ed.)
and textual materials; and (3) imagines the potentials
soundmap/
and future transformations of sound environments. Thus, the thesis offers a critical intervention for one
Queen’s Architectural Press.
potential direction for the future of sound mapping.
Engagement in the Built Environment: Reflections from
-McCafferty, C. (2015). Sound Art and Public an Architecture Center. Journal of Sonic Studies vol. 11
Research keywords: acoustic cartography, architecture, built environment, cartography, sound
Awards
studies, sound art, sound mapping, spatial analysis, urban pedagogy, urban planning
Harp Art Lab, Halmstad, Sweden: researcher-in-residence award as part of Sound at Nissan Festival, 2016. Medea Electronique, Athens, Greece: guest artist residency award as part of Soundscapes/Landscapes project with sound artist Matilde Meireles, 2016.
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2. 1. Results of Sound Mapping Workshop with Architecture students, Street Society, 2015 2. Part of ‘Elapse’, an artwork created on residency in Athens, 2016 - Conor McCafferty and Matilde Meireles
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3. 3. Still from Capturing Craigavon Sound Map, 2018
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Master in Architecture (M.Arch)
MASTER IN ARCHITECTURE (M.ARCH) At its core our M.Arch porgramme’s ambition is for each student to understand what motivates them as an architect in the expanding field that is the contemporary practice of architecture. Across the two years each student builds a personal portfolio culminating in a thesis project which inquisitively seeks to define a position; to establish the ground from which they can build their future practice. In doing so we hope that our graduates enter the profession with clear values, ambition and confidence in both architecture itself and their own ability as a designer to positively contribute to the shaping of our society. Architecture is a social art not only in its ambition but also in the processes by which it is made. At the heart of our course is a studio culture. This reflects the reality and essence of architectural practice as a social discipline. Our programme is divided up into thematic studio groups, each led by a pair of tutors. The studio is understood as a shared space of collaboration and experiment with each of the thematic studios intended as a laboratory of thought contributing to broader debates beyond the school. This year this has meant collaborations with other MArch students internationally alongside engagement with community groups, local authorities
Architecture at Queen’s
and governmental departments. Building upon the expertise of our diverse staff the structure of the studios is intended to engage across the spectrum of architectural thought and endeavour. In doing so our intention is to facilitate an exposure to very different ways of working, thinking and seeing as an architect, allowing all of our students to experiment with and test these attitudes against their own developing studio design process and architectural understanding. Parallel modules of humanities and technology dissertations alongside professional skills, integrated into the studio, seek to support, challenge and enrich this growing understanding. This year our school was united in a shared endeavour to collectively address our responsibility to respond to the climate emergency. In such times the studio is a potent forum, a place to test ideas and question the world around us. The work made by our students in response, contained in the following pages, demonstrates an urgency, intelligence and confidence that provides optimism in its understanding that architecture can positively and profoundly change our world.
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NORTHERN NEITHERLAND M.ARCH Students MArch I; Hope Brown, Christopher Connolly, Stavroula Perdikaki, Philip Richardson, Jessica Scott & Aaron Vinaccia. MArch II; Leonard Chipawa, Jason Crawford, Karolina Dimitrova, Apurva Lengade, Darren Lynass, James McMonagle & Riane Samir. Staff Prof. Greg Keeffe & Dr. Seán Cullen.
This year, under the theme Northern Neitherland, the studio Architettura Superleggera explored the future of hyper low-density landscapes by studying the productive and consumptive territories of the Lake District and the Province of Groningen, NL. Each operates as a distributed, networked landscape which generates intensity and production in different ways. Both experience fluxes and flows of occupation, output and consumption directly connected to landscape and climate. These include cultural production of poets and writers in the Lake District – like William Wordsworth and Beatrix Potter – to the intensive agricultural production and natural gas extraction of Groningen, located below sea-level.
With thanks to Prof. Rob Rogemma (Hanze University of Applied Sciences), Kevin Logan (Maccreanor Lavington), David Capener, Prof. Tom Jefferies (QUB), Professor Gary Boyd (QUB), Emma Campbell (QUB) & Dr. Mark Mukherjee Campbell (QUB).
The studio examined how these regions have developed, what shapes their operation and how they are serviced by, or service, a landscape beyond their physical boundaries. As regions with hyper-low density, the project examines the underlying networks, systems and infrastructures which service unique forms of intensity and how these must respond to climate change.
Architettura Superleggera looks at the relationship
The thesis work raised significant questions: What
between architecture and the complex flows of globalisation versus the stasis of traditional ideas of place. The future is effective: speedy, stripped-down and super-light.
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does it mean to be a world heritage site? What does future heritage look like? How will climate change impact lifestyles, the environment, tourism and ecology? What is the future of tourism? The output of this work proposed new ideas for policy, autonomous mobility, climate protective infrastructures and the future of industry and trade in the Lake District. Meanwhile, Year 5 students developed projects focused on the future of food, water and energy in northern Netherlands. The students proposed research institutes aimed at advancing technologies and knowledge needed to address the climate crisis.
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1. 1. Northern Neitherland: Mapping the Controversies of the Lake District - Group work
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2. 1. An Energy Evolution - Chris Connolly 2. Floating Farm - Stavroula Perdikaki
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4. 3. Liquid Assets - Jessica Scott 4. Hydrogen Research Hub - Phillip Richardson
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THE POLICY-SCAPE JASON CRAWFORD This thesis explores the conditions of authenticity and the nature of rural and urban artefacts as products of spatial ordering and preservation through timeless heritage within the Lake District National Park. The abundance of the Lake Districts vernacular buildings, objects and artefacts support a complex synthesised relationship between social-economic values and shifting perceptions around protecting and preserving future heritage. Current legislative framework and policies endeavour to fabricate boundaries and constraints between new emerging technologies, material and future techniques through mitigation and a sense of false romanticism. This thesis proposes both a permeable and transitory approach to the issues surrounding people, place and function within the National Park. The accumulation of localised materials and the integration of a three
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tiered POLICY-scape through the creation of the Deep, Medial and Outer Lake District, seeks to use policy as a controlled method through the slow adaptation and forming of new heritage. Each Policy framework provides either stringent or lenient methods within the Lake District either through the removal and unpacking of artificial form and function or the creation and packing of emerging bio-materials and future heritage into the Deep Lake District. Over time, the territories of the POLICY-scape will expand and grow within the existing biotic landscape, through the use of a selfreplicating Eco-Tone, combining both new emerging materials and techniques through the bioscape and the technoscape to protect, prepare and ready the Lake District from the impending human and natural controversies beyond the 21st century.
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DESTINATION ANTHROPOCENE PARK DestinationCHIPAWA Anthropocene Park - Embedded Experience Traveller Architecture LEONARD Leonard Chipawa Situated in the picturesque landscape landscape of of the the English English Lake District, District, Destination Anthropocene Destination Anthropocene Park Park explores and and proposes sustainable tourism proposes sustainable tourism moments moments by architecture founded in the facilitated facilitated by architecture founded in the principles principles of the experience economy and slow city of the experience economy and slow city movement. movement. A landscape collective of landscapeinterventions architectural A collective of architectural interventions form in a journey through the form moments in amoments journey through the Lake district Lake district that allow toand be participate embedded that allow travellers to betravellers embedded and creation of aresilient climateand change in theparticipate creation ofinathe climate change resilient and adaptable landscape. adaptable landscape. The thesis proposes proposes aa sustainable sustainable regional regionalstrategy strategy bringing the field of tourism tourism into into dialogue dialoguewith withissues issues and challenges which the the Anthropocene Anthropocene may may pose poseto to the future of the UNESCO world heritage site.
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The strategy aims to draw synergies bringing bringing togethtogether er local inhabitants of the region, nature thethe local inhabitants of the region, nature andand the the travellers in a sustainable and resilient format. Despite different terrains terrains evoking evokingmultiple multipleattitudes attitudesto to architecture that inhabits the landscape the the architecture that inhabits the landscape creating creating a series of embedded along the a series of embedded moments moments along the journey, journey, the are designs are founded in the principles the designs founded in the principles of the of the experience economy and slow city movement. experience economy and slow city movement. The The architectural moments encountered by the architectural moments encountered by the traveller traveller are conceptualised through of embedare conceptualised through ideas of ideas embedded ded experience, permanence, temporality, disappearexperience, permanence, temporality, disappearance ance and camouflage. The interventions respond and camouflage. The interventions respond to the to the maintenance preservation of the scenic maintenance andand preservation of the scenic timetime layered landscape landscaperecognising recognisingthe theimplications implications of of the the climate change emergency. climate change emergency.
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ountering the Blackcombe carbon capture monuments ro-climates experience ural Impression of the Lakes journey of embedded moments dscape resilience through eco-tourism
Architecture at Queen’s hitecture at Queen’s 1. Encountering the Blackcombe carbon capture monuments
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THE TASTE DISTRICT: ARCHITECTURE AND CULTIVATED SYNERGIES KAROLINA DIMITROVA The Taste District: Architecture and Cultivated Synergies
Karolina Dimitrova
The approach of this thesis is to shape an argument The approach of this thesis is to shape an argument that that critiques without sentimentality the current critiques without sentimentality the current UNESCO UNESCO Heritage system and the Lake District Heritage system and the Lake District foodscape foodscape while looking for a reflection of how its while looking for a reflection of how its contemporary contemporary form can be reconciled. The project form can be reconciled. The project concerned is concerned with the synergies thatiscan be drawnwith thefrom synergies that can be drawn from an agricultural an agricultural heritage context. The thesis heritage context. The thesis seeks to define the 21stseeks to define the 21st-century role and potential century role and potential of the countryside of the countryside with the backdrop of seeminglywith theimmovable backdropglobal of seemingly trends. immovable global trends.
It imagines thatuses usesthe the It imaginesan analternative alternative Taste Taste District District that town ofof Ambleside asasananexperimental town Ambleside experimentallaboratory. laboratory.Four Four projects are created partAmbleside of the Ambleside projects are created as part as of the Incubator - the thriving Perma-Orchard theIncubator thriving Perma-Orchard gardens, the gardens, Yummy Platter the Yummyspace, Platterthe community thefood Pleasure community Pleasure space, Gardens heaven and the Green-Works Pavillions for waste management
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Gardens food heaven and the Green-Works Pavillions and food production. The four interventions actively for waste management and food production. The four revitalise and regenerate the deteriorated conditions interventions actively revitalise and regenerate the of the local environment by creating a wastedeteriorated conditions of the local environment by free green nexus of production and consumption. creating a waste-free green nexus of production and consumption. The projects aim to improve the state of the local micro-
economies a structure ableofto support The projectsin aim to improvethat the is state the local food and energy production while providing recreational micro-economies in a structure that is able to and educational for the local community support food andactivities energy production while providing and the tourists. Furthermore, with similar interventions recreational and educational activities for the local deployed all over the National Park, the Taste District community and the tourists. Furthermore, with similar function as adeployed micro-sustainable network Park, providing interventions all over the National the a Taste as a micro-sustainable network wider District regionalfunction urban, social and heritage repair. providing a wider regional urban, social and heritage repair.
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4. 1. Heritage of Future Past & the ‘Sea of Plastic’ 2. Thriving Perma-Orchard Heritage of Future & the ‘Sea of Plastic’ 3.1.The Yummy PlatterPast Intervention 2. Thriving Perma-Orchard 4. The Pleasure Gardens of Food TheGreen-Works Yummy Intervention Architecture atPlatter Queen’s 5.3. The Pavilions 4. The Pleasure Gardens of Food
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HYDROSPINE APURVA LENGADE The Environment Agency has confirmed that the majority of Ulverston resides within the indicative flood plain and it is recommended that as part of the planning process for any of the proposed developments, that a full Flood Risk Assessment should be carried out together with mitigation proposals. Proposals for improvement include the introduction of a Tidal Barrage which not only protects the city from the high risks of flooding but also acts as an energy spine with the provision of electricity for the town of Ulverston. It also provides for the development of the Marina in the tidal basin thus promoting tourism. The Ulverston canal and its wider environs are
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acknowledged as having a great wealth of wildlife value. Aquatic, wetland, woodland and coastal habitats all contribute to the collective biodiversity. The ecological impact assessment of the canal and canal head has been identified a baseline range of species. However, the canal is losing its importance and the sea is at the stage of getting detached from the city of Ulverston. The major area of focus is the reinforcement of the canal town by supporting a high quality environment for waterfront activities, leisure, business and sustainable industrial development. The regeneration of canal waterfront will help in strengthening the interphase of the city with its bay.
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NATURE & CONTROL: TOURISM’S SYNERGETIC BUILT ENGAGEMENT WITH THE DUDDON VALLEY DARREN LYNASS In this world of seemingly hopeless solutions to the issue of humankind’s threatened domination of the planet by the climate emergency, it is apparent that our capacity for enjoying the natural environment is also in danger due to the sheer demographic volume of tourists attempting to find serenity and peace with our planet’s ecology. The poet William Wordsworth wrote extensively of his concern of the Lake District being negatively affected by industrialisation and overtourism in the early 19th century. Human beings face challenges with engaging in an environment those physical terrain is more akin to being subjected to erosion by flora and fauna such as flowers and fish. While wilderness has mostly protected due to the development of high-density
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urbanism, the Dudden Valley, which features in Wordsworth’s 1820 sonnets, its appears that design interventions have to evolve to not merely conserve the River Dudden from touristic engagement but to develop a design intervention that encourages tourism engagement in a synergetic mechanism that ‘upvitalises’ it. This reconciliation between the natural and built environment rests on one theme that my design intention will implement, control. If we can design interventions that keep the tourist’s engagement as controlled as possible, we can keep the impact of our engagement akin to that of wildlife. A synergy of sustainable materiality and surveillance can offer the solution that would create a new ecosystem for all.
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NUCLEAR HEALTH CARE JAMES MCMONAGLE This project seeks to explore the paradox between the nuclear industry and healthcare. It was found that the Sellafield Reprocessing Plant in Cumbria was pumping radioactive material into the Irish Sea to get rid of stockpiles of nuclear waste being generated by power plants across the United Kingdom and parts of Europe.
A nuclear brick is the module for a new experimental treatment for cancer, paired with emerging gold nano-therapy. This technology can be embedded in landscapes and built environments to provide a passive and effective method for alternative treatment in the battle against cancer.
Cumbria is currently one of the least funded areas receiving proper cancer treatment, with “patients” having to travel three hours to Manchester.
A thought experiment in alternative treatment proposes the construction of “Treatment Alters” in the environment allowing “guests” to explore the surroundings of the Nuclear Valley. Self reflection and contemplation happen naturally through the exploration of the Alters and Spa complex. Humans instinctively know that spending time in nature is great for both the body and mind, and a growing body of research suggests that it can benefit our mental health providing the foundation to fight this awful disease. Guests can explore nature while receiving low and targeted doses of radiation. Treatment, without the treatment. The removal of a 1940’s based treatment give way to progresive and a more human form of care to those fighting for their lives.
The concept of a Nuclear Valley draws on the negative impact current healthcare architecture has on human mental health. Currently conditions for treatment take place in bland, isolating and clinical environments which provide little to no mental or physical support for patients. At least 50% of patients suffering from cancer report to their doctors that their mental health suffers from the intense chemo and radiotherapy programs they have been placed on with many not having the strength to under go the full course prescribed.
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SMART GRID RIANE SAMIR Situated in the Lake District, Cumbria, the thesis explores what can be achieved when we unlock the true potential of the mobility systems that are currently in place. In a complicated world, threatened by a persistent global crisis, we continue to function in the most unsustainable ways. The movement of everyday commodities such as electricity, water, food and heat require a huge amount of infrastructure that continues to plague our landscape and consume many valuable materials. In an area of hyper low density with seasonal residents, infrastructure can travel for miles to reach a home that is only vacant for several weeks in a year. Smart Grids proposes to create a new, invisible connective tissue by exploiting the future of the
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electric vehicle and the road network. By challenging and exploiting current systems & flows, Proximity will no longer an issue. The vehicle will become the new medium between service and home. A protective skin will be in place to preserve heritage and provide an interface between the vehicle and Architecture that has the ability to extract and supply the building with the essential commodities whilst also enhancing the lifestyle of the resident. 20th-century infrastructure will become redundant. People will travel collectively. Roads will never be congested. Carbon will be net-zero. Commodities will become shared. The Lake District will once again become self-sufficient.
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SCAFFOLD M.ARCH Students
Staff
MArch 1; Orlagh Casey, Ellen Cassidy, Sarah Devlin, Katie Jackson, Megan Ross & Jia Xuan See.
Prof. Michael McGarry & Ben Weir. With thanks to
MArch 2; Lauren Barwise, Holly Chapman, Declan Davis, Milena Heuer, Glenn McNamara, & Adam Moore.
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Dr. Arnaud Hendrickx, Prof. Jo Van den Berghe, Dr. Steve Larkin & Prof. Paul Clarke.
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Master in Architecture (M.Arch) - Scaffold
Scaffold is a device of a pragmatic transient support, something required to enable something else to happen; this studio sees the MArch programme as a scaffold to enable younger designers to clarify their own way of spatial and material design ie how they actually produce (or might produce) architecture; if you know how you work then you are unlikely to be overwhelmed in future situations - situations that cannot be predicted. The notion of a graduate being oven-ready for predicable practice is a fiction, but self-awareness as a thoughtful designer is a life skill, hence the studio’s focus on the individual design process, not on an overall thematic concern.
Second semester involves a location specific design project for MArch1 (a women’s refuge last year) while MArch2 develop their individual thesis armed with their enhanced first semester self-understanding. Both MArch1 and MArch2 are understood as thesis years with the clues for the identification of a thesis are frequently preseent within each student’s established body of work.
The studio presupposes that architectural design education happens through the making of spatial and material proposals; relevant research is informed by this reality. The studio concern is in the physical, or the imagined as physical, the imagined being distinct from the virtual. First semester involves exercises where individuals unearth their own design techniques, tropes, forms of representation, ways of working etc leading to the individual design of a project on a shared site - last year the project was a
Architects act vicariously, we are at one remove from building(s), hence the importance of representation. The primary representations are between author and work, a condition of artistic practice shared with other disciplines and this reality is at the basis of this studio’s methodology and approach to research - research is embedded within the actual disciplinary activity of (in our case) the design practitioner. This is a form of qualitative research in which the self-reflective author uses discipline-specific techniques to explore his/her anecdotal and personal practice, with a view to improving that practice. Process and design research are linked but different; if process is the cumulation of design iterations, then design research might be the underlying artistic practices ie patterns of behaviours
school of least means on a low lying site in Antwerp.
involving techniques, thoughts, and actions.
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1. 1. A Refuge - Katie Jackson
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UNDER THE FIFTH FACADE HOLLY CHAPMAN Laugeir’s concept, The Primitive Hut, depicts the fundamental basis for the creation of architecture, an uninterrupted ground and a roof. Architecture has progressed dramatically since Laugeir’s concept and the fundamentals of architectural design focus have shifted to walls and perimeter. This thesis research returns the focus of architectural design to the fundamentals, a ground and a soffit. Depicted in the thesis design proposal are a collection of investigations into the relationship between the two planes. It explores how through the unique methods of representations of these two forgotten planes, the perception of the horizontal expanse can be altered. The design proposal specialises its investigations to explore the fictive and real architecture. Through a
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collection of pencil studies, the concept of deceiving the perception of architecture through the process of drawing and the manipulation of drawing is tested. The studies analyse how to create the appearance of depth in a ceiling and how through use of illusory devices such as, forced perspective, it can generate multiple perceptions of the architecture. The thesis project explores a proposal in which both the built architectural form and its methods of representation, have been designed to be deceptive and perceptually ambiguous. A swimming pool presented opportunities for manipulation through representation due to the unique and ambidextrous relationship between the swimmer and the horizontal expanse.
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FOLDING CREATING SPACE LAUREN BARWISE This proposal is concerned with folding as a generator of space. Particularly, doing the least to create space, as such the aim is spatial and is to do with the least amount of material and folding actions to suggest a held space. A particular interest throughout my thesis regards overlapping horizontal planes. The elimination of vertical elements focusses the attention on the soffit, the deck and the spaces held below, above, and in between the two surfaces. The folding action creates figural, suggestive and haptic space which is open to the interpretation of the subject on how it is engaged with. The fold is pliant and adaptive, as seen in the images, the suspended
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walkway and arches hug the adjacent buildings, using them for self definition. The fold also gives the deck and arches their own rigidity and the ability to be free-standing. This project has two parts; the soffit and the walkway. The walkway is suspended entirely, contactless to the context or the building it is embracing, free from touch, except for people. The only exception is the rods, which receive it and join it to the arches. The chosen images aim to portray the embrace of the soffit, the lightness of the folded deck and the feeling of envelopment where the two come together.
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Belfast Project
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SPATIAL ENIGMA AND PERSPECTIVAL EPISODE DECLAN DAVIS This project explores how space can be generated through the use and manipulation of drawing conventions, specifically the perspective drawing system. Perspective is not the reality; it is a drawing system. This system allows a depiction of a desired orchestrated view rather than what is ‘true’. Perspective drawings create a fiction which offers a unique way of seeing the world. By using the flexibility within the drawing system as a device for design, it creates opportunity for discovery during the design process. The perspective images depicted illustrate moments within a Hotel in Belfast. The perspectives are not merely a form of representation, they act as a device which is used to design space, and therefore, architecture. Each drawing represents a spatial
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episode within the scheme, describing a possible reality of how the building could be occupied. Within each episodic drawing lies a promise of another which awaits just around the corner, creating an architecture that has a heightened sense of expectation and intrigue. Strongly abiding by the rules of the perspective drawing system can lead to absurd outcomes, however the system can be manipulated into an advantageous design tool. Spatial Enigma will be inevitable as a result of this specific way of working, the difficulty lies in embedding the enigmatic qualities of the drawings into the architecture the perspectives describe. Can enigma transcend the architectural drawings and manifest itself in the Built reality?
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ALONG THE HORIZON MILENA HEUER In today’s globalised world, the relationship between the human and non-human world is broken. Humankind has to reconnect with nature to create a sustainable future. Reconnecting with nature awakens quintessential forms of being, such as walking and simply being in serene natural environments. This thesis project positions itself between a romantic and a scientific world view and creates a holistic understanding of the landscape of the East Frisian Peninsula, grounded in scientific analysis and subjective experience. The peculiarity of the East Frisian landscape is its significant flatness, and consequential its horizon, which becomes an incentive for walking.
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The design charters the landscape of the East Frisian Shore: 25 toilets are spread along a trail at 6km apart. The verticality of the structure highlights the significant flatness of the landscape; and also becomes a point of reference for the walker. To reduce the impact on the environment the design uses, in a ‘rain gutter-sail’ collected, rainwater and also recycles human waste using an environmentally friendly three-chamber septic tank made from geopolymer concrete. The project uses zero energy post-construction, as everything is operated manually. While the buildings are servicing the walkers, they also captivate a moment in the landscape, a moment of being.
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OPPOSING FRAGMENT GLENN MCNAMARA This thesis investigates the physical form of architecture as a tool to shape something more important than itself. Light has been considered as the primary force from the initial conception of design, stripping volumes bare of all but the essentials so that light itself becomes the main subject. The project is designed through 1:50 scale models and consequently photographed to create individual moments within a sequence of spaces.The models presented throughout the investigation have been designed as individual spatial episodes; rejecting an overall top down attitude to design and instead thinking in terms of individual fragments.
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Designing through 1:50 scale models allowed for intense spatial organisations and the consideration of light and materiality. The characteristics of designing through these individual episodes were opportunistic, nimble, light-touch, subtle and more intuitive than cerebral. A tangible design process is essential in the creation of a tangible architecture; an architecture that is not experienced as a collection of isolated visual pictures, but in its fully embodied material and spiritual presence. The design process resulted in a methodology where the process by which I arrived at the conclusion is as of as much importance as the conclusion itself. The essence of the scheme is in the way in which it was evolved - an architecture that is representative of its own process.
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SPECIAL COLLECTIONS ARCHIVE ADAM MOORE Predicated on the minute, this thesis explores minimum calibration that has maximum experiential impact. Starting with carving into plaster to explore the economy of line to give a simple material elaborate expression. I have used Literature to research this further as it has a wealth of examples relating to small incremental elements that lead to extremely visceral reactions. Proust and Sebald are both authors who use architecture as signifiers within their prose with small details such as mosaic flowers on the stone floors of hall ways once visited by the protagonists, guiding them on their journey, and tying them to the past, present and future.
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The research is explored through a Special Collections Gallery that democratises the artefacts in a sequence of rooms which are all considered artefacts in themselves through their individuality and detail. The rooms frame the context alongside the artefacts to ensure that the connection to the past and present are both mutually celebrated. Prose, an unstructured method of writing that permits meandering, has been used as a tool to situate oneself within the scheme, allowing a unique opportunity to establish a hierarchy as to what calibration is significant within the quotidian experience of each room and space proposed.
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STREETSPACE M.ARCH Students
Staff
MArch I; Mariana Alvim Da Cunha, Nathan Cilona, John Doherty, Ciaran Gormley, Sitong Guo, Aisha Holmes, Nehal Jain, Jing Ting Lim, Hannah Miskimmon & Juliette Moore.
Dr. Agustina Martire & Patrick Wheeler.
MArch II; Aisling Madden, Lorna McCartan, Tiarnan McIlhatton, Chi Wai Jonathan Yau.
With thanks to Department for Communities, Belfast City Council, Household, St Joseph’s Church, Sailortown Regeneration, Ulster Architectural Heritage, Mission to Seafarers, Clanmill Housing, Docker’s Club Culture and Society research cluster, Sean Greer Design, Professor Manuel Ramos (Instituto Universitario de Lisboa), Birgit Hausleitner (TU Delft), Dr Federica Banfi (Anthropology at QUB), Anna Skoura (QUB), Thomas McConaghie (QUB) and each and every participant in the Sailortown Community.
1. 1. Ethnographies, Gender Map, 1963, Sailortown - Hannah Miskimmon
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Master in Architecture (M.Arch) - Streetspace
StreetSpace is a research and teaching project that seeks to understand the significance of local mixed streets, by analysing their physical, historical and experiential aspects. This multidisciplinary project aims to provide an alternative way of mapping, drawing, planning, preserving, developing and designing streets. Local mixed streets are complex, diverse and connected. They have evolved slowly through history, but can be radically transformed by redevelopment. StreetSpace explores streets with a rich mix of uses, with complex histories and especially those that have lost or risk losing their distinctive identities. In 2019-20, architecture students in the StreetSpace studio were challenged to work in collaboration with the Department for Communities and Belfast City Council to address the area of Sailortown in Belfast and its connection to the rest of the city. More importantly, students were challenged to work closely with members of the community, so they could understand the histories and memories of Sailortown and explore ways of representing them. In this way students could later address problems of vacancy, lack of cohesion, connection and coherence in a very significant area of the city. The first semester was a collaborative analytical studio where students worked with partners,
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collaborators, consultants, and local public investigating the stories, memories and histories that define Sailortown. A trip to Lisbon and collaboration with the department of anthropology was a testing ground of the methods of investigation and representation. In the second semester, students produced proposals for Sailortown that considered and enhanced the potential diversity, vibrancy and spatial quality of Sailortown’s streets. These proposals aimed to be feasible, affordable and sustainable, while protecting and enhancing the quality of the existing and new built environment. The yearlong research for the project led to a spatial strategy that provides the possibility of a more vibrant and sustainable future for Sailortown. This strategy includes a tight and dense built fabric, a wide network of mobility with wide footpaths and cycle lanes and a network of canals to deal with the possible floods in the area. The projects are the following: a flexible plot based mixed tenure housing scheme; a bicycle village including a factory and facilities for cyclists; an integrated Montessori primary school; a public bath house; a storytelling centre; a children’s cultural centre; a multi generational housing and market scheme; a public library; a dance centre; a brewery; a tile and pottery factory; a bazaar; a waterfront market and housing terrace; and a women’s shelter.
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2. 1. Ethnographies, Sailortown - Sitong Guo 2. The Brewery Public Courtyard Culture Night - Ciaran Gormley
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SAILORTOWN PLOTS FOR LIVING AND WORKING AISLING MADDEN Sailortown was once a bustling community with 5,000 people living near the docks in Belfast. My ethnographic research focused on conversations with a former resident. His vivid and humorous stories of everyday life in the 1960s helped me to understand the complexity of the area and how the density, mixed-use and efficient street network all contributed to the strong sense of community. This was all wiped out by the mass demolition in the 1970s to make way for the construction of the motorway.
and are divided into a mixture of small plots for selfbuild and larger residential buildings with ground floor retail or light industry.
The thesis aims to bring a vibrant community back to Sailortown by creating a dense, mixed-use environment which will provide healthy and affordable city centre housing with lots of green space. The blocks are influenced by the historical street layout
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The plot-based system will allow owners to build and adapt their home at their own pace. A Design Code clearly explains the site parameters and sets out rules for home builders, aiming to ensure a level of consistency between individual plots. This plot system will make the area resilient to future change and create a rich and diverse urban environment. Particular focus has been paid to designing a mixed use courtyard which will be used at all times of the day. Split levels allow a mix of uses to occur in close proximity to each other while creating thresholds between public and private spaces.
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ment in time when all the plots have been detail to show the wide variety of typologies
of uses. Different levels are used to create acy levels. A central public park is above the evel above ground. This is publicly accessible n Street. Paved squares at ground level are ings opening onto them: for light industry hops to use (Corporation Street) or for an sidents (Corporation Street and residential floor to create a threshold from the public
rom the motorway and breaks views within
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The Building and the Water: Exploded Axonometric Study
SPACE AS THE THIRD TEACHER LORNA MCCARTON This thesis derived through analysis and research of Belfast’s dockland town, prior to it’s unnecessary demolition in the 1960s. Today, Sailortown occupies a small number of private and social housing developments in an attempt to repopulate the area amongst vast carparks and office blocks. However, these developments failed to deliver spaces to learn, socialise and play. Therefore, this proposal seeks to define the montessori methods of educational design within an urban realm of desolation and lost memories. Situated in the context of a segregated society, the alternative school typology aims to integrate and celebrate socially inclusive modes of inside and outside learning.
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The design of the montessori school facilitates a child-centred learning experience through the use of social and semi-public spaces. Among the design, the expansion and incorporation of the canals evoke a montessorial learning environment, in respect of Sailortown’s industrial and built heritage. The project imagines a permeable two-storey timber clad and standing-seam zinc structure, with an intermediate walk-around to offer a contemporary corridor in outdoor space. The routes of movement act as educational and social spaces, taking the form of the teacher in addition to the alternative yet conventional classroom.
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Walk-around Connections: Bridge to Classroom
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SAILORTOWN BATHS TIARNAN PATRICK MCILHATTON Sailortown Baths aims to remedy the trauma created when masses of people were moved out of the area in the 1960’s and 1970’s making way for the new motorway. Public Baths where infrastructures for raising people’s standard of living and Sailortown Bath’s aim to tackle the 21st century mental health crisis, which is felt more in socially deprived areas. The scheme was inspired by an old bathhouse where dockers would go once a week to wash before attending church, or mass on a Sunday. The project seeks to narrow the standard of living gap. ‘Spa’ is often deemed a middle-class activity, but through studying this in wider Europe and Asia it is clear that the practice of bathing is global and should be
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unselective and also affordable. Building within the lines of the last historic block left in Sailortown, the design aims to sit between the American Bar and Mc Kenna’s Bar solidly, but also in a fitting way. Each elevation allows for views into the building and I challenge the idea that such recreational buildings must be fully private to the street. The brick ties in with the past and present material identity and an old wall is retained for the intangible impact that kids spraying ‘Welcome to Sailortown’ has on people arriving to the area.
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TOWARDS A BICYCLE CULTURE JONATHAN YAU For many of us, learning how to cycle was our first moment of independence and a valuable memory. The beauty of the bicycle is the journey from learning how to cycle, to the sensory experience of travelling from one destination to another. We experience the environment differently when we are cycling and within the process, we become more engaged and sensitive to our surroundings. The proposed scheme is a Cycling Village based in Sailortown, Belfast, that aims to act as a catalyst to improve mobility within the city, promote cycling as a key tool in the process of urbanization and restore the bicycles role in society. In the history of cycling, the bicycle liberated woman and the working class, providing them with an affordable form of
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independent transport, allowing workers to travel farther for jobs or to look for it, and also played an important role in social development. In many cycling cities such as Copenhagen and Utrecht, there have been exponential gains in economic activity and an upturn in social wellbeing. Whilst aiming to improve cycling infrastructure and mobility within the City of Belfast, the proposal responds to Sailortown’s historical and cultural context by giving a sense of the physical, tactile quality of life of Dockers through programmes such as the Bicycle Factory. The cycling village explores the tension between solid and void, spatial transitions and captures multiple precedents such as Dutch concept, ‘Woonerf’ and shared space principles.
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IN PRAISE OF ADAPTATION M.ARCH Students
Staff
MArch I; William Brady, Rachel Brown, Ronan Keith, Emma Kelso, Lara Magee, Shing Man Yiu, Emma Stewart & Diana On Na Tai.
Jane Larmour & Keith McAllister.
MArch II; Shane Carville, Adam Doherty, Aaron Duffy, Eugenia Yi Chun Lai, Kieran Tester, Thomas Tsiantar & Eve Turkington.
With sincere thanks to Guest Reviewers Laura Harty (Edinburgh College of Art), Mark Todd (Mark Todd Architects) & to the many who helped support and facilitate the work of the studio, including; Gina Baban, Maybelline Gormley, Liam McQuillan and Robert Noade (Historic Environment Division and Department of Communities) & Peter Dornan (Portaferry Regeneration Trust).
With thanks to
1. 1. Gallowglass Centre, Kilclief Castle - William Brady
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Very simply, architects seek to make things better. In a time of diminishing resources and increasing environmental pressures, architects now need to look at ways where we can reuse our existing built fabric by adaptation rather than dispensing with it. Whether by reuse, extension or reconfiguration, this will demand an appreciation of the existing. If going to make an improvement, one must first fully understand the present. Only then can informed and well considered design decisions be made. Recognising that the traditional and the vernacular are all too often overlooked, Portaferry, a coastal village in County Down was chosen as a base to work in. Geographically peripheral at peninsula’s end, it is also peripheral to peoples’ imagination, now relegated to a place of occasional visit. The industry once associated with its shoreline and marketplace has now declined. Its streetscape is one proliferated by the abandoned, ignored and incomplete. It is however a place of fast changing light and abundant sky. Sometimes chastened by punitive wind and rain, it can also be a place of restorative quiet and calm conciliated by rhythmic tide. It was into that realm that two primer projects; the
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design of a seat in the village and the adaptation of an existing traditional house into a live work home for the twenty-first century, alongside a study trip to Edinburgh began the Unit’s investigation. All were employed to better understand the implications, challenges and value of adaptation of the existing. This then supported the work in the second Semester when MArch II students developed their own brief coming out of an area of personal interest for a proposal that would include working with and making changes to existing built fabric in the village. Concomitantly, M.Arch 01 students were tasked with surveying, evaluating and then making adaptations to two historic County Down Tower Houses at Kilclief and Kirkistown, both monuments in state care, for uses that would see them once again occupied and brought into use. All students were encouraged to experiment with different media as modes of individual and particular enquiry. Respecting and working with existing built fabric is an essential skill for any capable architect. This challenge is heightened when the existing condition is an historic one. That was the challenge confronted and tackled by the ‘In Praise of Adaptation’ Unit in an effort to indeed … make things better.
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6. 5. Brewery & Cooperage, Kilclief Castle - Ronan Keith 6. Kirkistown Castle Gardens & Apiary - Louis Shing Man Yiu
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PORTAFERRY BOATYARD SHANE CARVILLE My thesis project is based in Portaferry, Co. Down, a small town in decline due to lack of investment, employment and life due to the need to commute to Belfast for work. My proposal is situated on a disused site and transforms a derelict and listed building into a boat makers, chandlers and museum. It is hoped that this will increase tourism and economic growth while promoting the history of the town and subsequently, growing the traditional boat building industry in Portaferry and Ireland. During Semester One of this year I began to question how we value existing structure in tandem with my own designs. What value does the existing have physical historic, social, material? Can its current state be repurposed to fit new means? Is it good enough?
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Can it be improved through adaptation? Should it? The prescribed briefs during this semester allowed me to research my interest in craftsmanship, fine detail and appreciation for materials. These questions and interests culminated into my Semester Two design. With the thread of craftsmanship throughout the work, the design demonstrates my interest in the tectonic and material quality of building and architecture. Investigating at a large scale, the moments of ‘magic’ - joint and junction, where old meets new - a stratification and overlapping of layers. The proposal seeks to express a respect toward all existing structures - not a disregard or submission - but a reverence that sees the potential to adapt where some might destroy.
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SCHOOL OF STONEMASONRY AND RESEARCH ARCHIVE ADAM DOHERTY SCHOOL OF STONEMASONRY AND RESEARCH ARCHIVE ADAM DOHERTY view of decreasing resources and increasing InInview of decreasing resources and increasing environmental pressures, there is a growing case for environmental pressures, there is a growing case for reusing reusing existing buildings in an attempt to reduce the existing buildings in an attempt to reduce the construction constructionnindustry’s carbon footprint. Sustainability industry’s carbon footprint. Sustainability can be achieved can be achieved through adaptation. through adaptation.
property with an addition to provide workspace for a Lane with an addition to provide workspace for a goldsmith. goldsmith. While brings an to inherent value to old While age brings anage inherent value old buildings,
buildings,underpinning the use of betterunderpinning this has beenthis thehas use been of betterqualitymaterials materials and traditional methods valued quality and traditional methods that that valued craftsmanship over return on investment.
To formulate a design solution, it is important to To formulate a design solution, it is important to understand understand both the past and present. Portaferry is a both the past and present. Portaferry is a designated designated Conservation Area where the objective is Conservation Area where the overall objective is to control to control development and ensure that its traditional development and ensure that its traditional character is character is retained and enhanced. The starting point retained and enhanced. Accordingly, the starting point for my for my thesis research was Portaferry and, in a wider thesis research was Portaferry and, in a wider context, past context, past and evolving attitudes to conservation. I and evolving attitudes to conservation. wanted to explore the assertion that while building new I wanted to explore the assertion that while building new is not wrong, we can add to the narrative by retaining is not wrong, we can add to the narrative by retaining what what is already there. Phase I of the thesis project is already there. Phase I of the thesis project involved the
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involved the a vernacular residential adaptation of aadaptation vernacular of residential property on Church
craftsmanship over return on investment.
Phase I explored adaptation by adding to what was already there. Phase II considered adaptability from the there. With Phase II, I wanted to consider adaptability from outset of the design process. Continuing the craft focus, the outset of the design process. Continuing the craft focus, the traditional stone wall surrounding the site not only the traditional stone wall surrounding the site not only anchored the scheme but provided the project inspiration. anchored the scheme but provided the project inspiration. By developing my design through models, I was able to By developing my design through models, I was able to explore options of how to incorporate the existing wall explore options of how to incorporate the existing wall and and experiment with future options for adapting the experiment with future options for adapting the building building through adding and removing elements. Phase I explored adaptation by adding to what was already
through adding and removing elements.
Master in Architecture (M.Arch) - In Praise of Adaptation In Praise of Adaptation
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REINTEGRATING THE CASTLES ALONG STRANGFORD NARROWS AARON DUFFY Reintegrating the Castles along ‘The Narrows’ explores and investigates adaptation, reuse and conversion with the intention of giving the Castles a new purpose Based along Ards Penninsula lies an old network of Castles and Tower Houses that were used to guard Strangford Lough and alert nearby communities of any attacks or threats entering the Lough. The design proposals are situated on both sides of ‘The Narrows’ in the towns of Strangford and Portaferry. The aim is to reintegrate Portaferry Castle and Strangford Castle into both towns as both were once used as ‘high seats’ that guarded the sail network of Strangford Lough. I aim to reintegrate the castles by no longer portraying them as methods of protection, but as an invitation.
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Both historic Castles are completely oblivious objects embedded within the landscapes of both towns that have been neglected through time. What better way to propose two new interventions within two historic ruins that have limited access to the public and require constant care and upkeep without constant use. ‘Castles were once used as original seats, high up, overlooking the land, observing and fortifying. With many low seats embedded within the land, the original seats are now obsolete.’ - Dermot MacRandal ‘The appearance of Portaferry is absolutely crucial to the charm of Strangford; and vice versa.’ - Ulster Architectural Heritage Society
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THE PORTA HOME - ELDERLY AFFORDABLE HOUSING COMPLEX SCHEME YI CHAN EUGENIA LAI The Porta Home is a housing complex scheme in Portaferry, a small town in County Down, Northern Ireland. As Portaferry has plenty of voids been left out, which has severely affected the town center’s connectivity and development. Hence, this complex is situated within the backyards of High Street, introducing a new approach to these unused voids. The scheme is comprised of a set of housing units for elderly, indoor and outdoor common area, an accommodation for the carers and a hostel for visitors. The main entrance of the scheme is located on High Street, where is part of the town center. Grocery shop, churches, community center, mailing and parcel services, health center etc. are all within 5-minute walk from the proposed houses. Moreover, common
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gardens and pantry encourages the elderly to reach out and communicate with each other, to create a sense of neighborhood. Each housing unit has its own courtyard and a view of the church, its entrance and openings are designed to maximize the daylight and natural ventilation of the house yet to keep a full privacy of the family. The scheme has reconnected Ballyphilip Church of Ireland to the town centre. From adapting the existing No. 8 & 12 High Street for carer and hostel use, to the elderly housing units, then leading to the common buildings for the elderly community, finally heading to the church. A hierarchy of each blocks is thoroughly thought in terms of size, use, privacy and little moments in different spaces.
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PORTAFERRY MARKET REGENERATION SCHEME THOMAS MICHAEL TSIANTAR The Portaferry market regeneration scheme aims to learn from the lessons of the past and bring life back to the heart of a historic market town at the end of the Ards peninsula. Many of Portaferry’s conservation area and listed buildings have fallen into dereliction and the market square’s primary function is that of a car park.
This will be achieved by providing a new market square within a pedestrian town centre. Traffic slowing measures will be put in place to ease access to the market and market hall. Visual connections and a canopy structure will guide newcomers into the market hall from the new bus stop and for those arriving from the Strangford ferry.
Based on work previously carried out by the ‘Free Market’ team and my own work within my architecture degree I have chosen to redesign the centre of Portaferry. The Portaferry market regeneration scheme will provide a coherence to the town, a social focus, an all-inclusive space and a pride in the town that seems to have faded.
It is my vision that the market will create a stronger sense of community within Portaferry. The market should boost the local economy, create a safer centre and new opportunities for social events, day to day activities and increase the attraction for tourists during the summer months. This scheme will provide an essential cultural and commercial revival.
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PORTAFERRY HORTICULTURE CENTRE EVE TURKINGTON This thesis project explores transitions in architecture through the in-depth exploration and testing of a different methods. The choice of this historical site is reflective of my interests. The location is at the periphery of Portaferry - the transition between the town scape and the landscape. It is a site overflowing with transitions, thresholds and relationships between inside and outside. Initial exploration of surrounding area and the woodland gave understanding of the physical connections the building has to its natural environment. The existing 18th century structure lies unmaintained and forgotten, disconnected from the public. The design attempts to reconnect that natural flow, from the hills to the woods, through the building and into the courtyard and reestablish a relationship with the public. The courtyard can
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only be accessed via the houses facing the Lough and the space currently serves as a shared ‘garden’ for residents. The existing structure creates a divide between the private courtyard space and the landscape beyond. This is something the thesis design addresses by creating a transition - the building itself - between the two. It aspires to re-establish lost connections with nature, physically using a bridge link into the forest and incorporating visual connections, as well as historically by re-inventing the ‘nursery’ which stood in the 1700’snow Portaferry Horticulture Centre. The design creates a series of transitions as one moves through the structure. It connects landscape to the building and inhabitants to the landscape, using the bridge to the forest and walkways through internal spaces.
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WHEN WE TALK ABOUT THE WEATHER M.ARCH Students
With thanks to
MArch 1; Bridget Bale, Zoé Bertel, Anna Crew, Czarinah Lou Malate, John Moran, Nicola Moran & Mark Ruddy.
Guest Reviewers, Ryan W.Kennihan (RWKA architects & TU Dublin), Alace Casy (TAKA architects), Steve Larkin (Steve Larkin architects & TU Dublin), Andrew Clancy (Clancy Moore architects & Kingston University London) & Eamon O´Kane, Prof. of Visual Art: Painting and Drawing, University of Bergen.
MArch 2; Roger Bonnar, Rebecca Coburn, Kevin Doherty, James Harris, Dermot O’Neill, Mark Ruddy & Naomi Smyth.
All involved with the Open Heart City collective who helped support and facilitate work in March1, second semester, especially, Associate Prof. Katherine O’Donnell (UCD), Dr. Maeve O’ Rourke (NUI Galway), Prof. Hugh Campbell (UCD), Dr. Dearbhla MacManus (UCD), Prof. Gary Boyd (QUB), Dublin City Council, members of Colab81-7, UCD March 1, The Irish Centre for Human Right NUI Galway, Gary Gannon TD & guest reviewers for June Symposium, Mary Harney & Dr. Sarah Lappin (QUB).
Staff Catherine Blaney & Dr. Colm Moore.
1. 1. A Moving Ground - Roger Bonnar
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Master in Architecture (M.Arch) - When We Talk About The Weather
“When it was finished, he usually kept the doors and windows open; swallows flew in and out to their nests, leaves blew in and scattered on the floor, spiders spun their webs in the dusty corners. Deakin’s home, Macfarlanne says, was a settlement in three ways: a habitation, an agreement with the land, and a slow subsidence into intimacy with a chosen space. Deakin chose to redefine his and the house’s boundaries, blurring and extending them into nature” - Robert Mcfarlane on Roger Deakin, writer and naturalist If you find yourself running out of things to say, best bring up the subject of the weather. Whilst Oscar Wilde claimed these conversations a refuge for the unimaginative his trepidations were simply that such talk might really mean something else. It often does, the physical as a vehicle for the meta-physical. As architects we can surely relate to this.
So we intend to invite the weather into our studio. To work in collaboration as shared authors of our buildings alongside time, the weather and people. The aim will be to bring our architectural projects to life. To welcome nature, not as an object to be viewed, but as structural force that shapes our buildings both prior and subsequent to their construction. To conceive our projects in terms of the dual forces of nature and culture. In doing so we will address technical problems of maintenance, inhabitation, adaptability and decay focusing on their philosophical and ethical implications. The aim is to bring our architectural projects to life, both physically and metaphorically. We will begin by drawing their breath in examining the life of materials in detail, their operation performance and action. Following this our field trip will be to Norway a place defined by its relationship to nature and the weather, a condition which has produced a strong and distinctive building culture.
This year, throughout our school, it is our intention to talk about climate change. Unlike the weather, which we can touch, climate cannot be experienced directly.
Our studio is intended as a place of conversation. Ultimately our aim is to facilitate a growing
Yet the climate is merely the weather in a particular place aggregated over a period of time. And while we may talk about it, we rarely consider the temporal with respect to either the making or our experience of architecture.
awareness of your personal position as an architect while providing you with the analytical skill, critical judgment and sound instinct for construction that will sustain your passion for architecture in an increasingly vulnerable context.
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3 3.Future FutureArchaeology Archaeology--Nicola NicolaMoran Moran 3.
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MOVING GROUND - A TECTONIC OF TENSION ROGER BONNAR The thesis project explores an underlying theme that, unbeknown to me, has been present in my work for many years - a tectonic of tension. Much like Herman Hertzberger’s Apollo Primary School in Amsterdam and Fernando Tavora’s Tennis Pavilion in Porto, where component pieces are distinct and seemingly simple, are held in a moment of balance, combining to create a charged space. The thesis project is a hotel based in the context of the World heritage Site of Bryggen in Bergen, Norway. Here a series of timber buildings are built on a lattice-like timber bulwark foundation system; creating a slow movement in the buildings over time. The plan is articulated by a series of ‘inhabited columns’ that shift over time embracing movement and reimagine the chimneys that stood on the site
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previously and Louis Kahn’s Trenton Bathhouse. A series of tensioned timber bridges and truss walls span between the columns, reducing weight on the timber foundations and achieving free-space below. The floor is a constructed tapestry of exposed bulwark and floating timber and concrete rafts – an archeology of the city exposed. The timber buildings of Bryggen are dependent on the next; perhaps an interesting attitude to the city and making one building as a piece of city. The hotel is thought of as the reciprocal of that - a building in the city fabric, where surrounding buildings are part of it. The project is a real investigation into a real material concern. It’s not about the image of the building – it’s about the reality of materials and settlement and movement.
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SHEEP HUSBANDRY FARM DERMOT O’NEILL The proposed project is situated in Lygra, a small island located 50 minutes from Bergen City centre, Norway. The island presents itself with unique landscape characteristics, where the southern half of the island is farmed and maintained with modern farming techniques, showing a manicured, lush green landscape, however in the northern half of the island, the landscape has been restored to form up to 500 acres of coastal European heathlands using traditional farming techniques. The heathlands, which are widespread worldwide, are rapidly disappearing and considered a rare habitat in Europe. Traditions on the island have been fading, in an attempt to preserve the historic farming traditions for future generations, the programme proposes to design a sheep
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husbandry farm and wool processing mill to educated and develop these traditions for younger generations, ultimately keeping historic farming traditions alive within the island community. The brief accounts for the addition of up to 300 sheep to graze the land and calls for a number of intricate sheep pens for the holding and organisation of the addition sheep. Also included are sheltered spaces, demonstration sheering spaces, sheep dips and lambing stations for the purpose of the health and well being of the sheep.Part of the brief is to use what the landscape has to offer when designing the pens and to keep costs to a minimum, and create a design which is in keeping with traditional Norwegian farm buildings and values.
Master in Architecture (M.Arch) - When We Talk About The Weather
Architecture at Queen’s
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DIRECTORATE OF FISHERIES OFFICE JAMES HARRIS My thesis research centres on the investigation of the living stone wall. The investigation seeks to look at the environment and ecology that stone walls create. This investigation has been explored by looking at weathering on stone walls and how the environment and construction can affect the microcosms of ecology they support. This began by looking at dry stone walls and ruins around Donegal Bay. This thesis research suggest that the ecology of stone walls can be enhanced trough delineation. The ecology of the wall should not be treated as a consequence of aging, but as a co-author in the design providing life to surfaces. lichens are symbioses between a fungi and an algae. Stone walls support
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them as a substrate to grow on. Lichens have many different characteristic and different requirements. Aspect and moisture as well as surface texture all have an effect. The fishing industry in Norway makes an important part of the economy. The coastal Kvarven peninsula is on the outskirts of Bergen is the largest fishing port in Norway. The peninsula is a vantage point on the sea route in and out of Bergen and is home to a nature park as well as a disused military fort. This project aims at creating a new stone terraced public route with offices for the Directorate of Fisheries. This landscape will be designed to support ecologies that grow on the stone walls creating a richer environment.
Master in Architecture (M.Arch) - When We Talk About The Weather
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BRICOLAGE MARK RUDDY ‘‘We shall add to, tamper with and transform what lies before us. Circumstance and accident will be integral to our designs. At last we shall come to terms with the provisional nature of architecture.’’ - Irénée Scalbert This thesis explores the opportunities which bricolage in architecture presents to us. It aims to explore the question of material sourcing and collage within the practice of architecture. The use of previously used material has often been rejected in formal architecture, however, the justification of continued direct extraction of raw material must be questioned when faced with the current challenges of climate change, environmental
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sustainability and habitat destruction. Through material analysis of vernacular Irish architecture and the medieval material trade routes of northern Europe, an understanding was gained of historic material context. The design project based in Bergen, Norway, explores possible material sources based on local activity and industry, defining a type of regional architecture of place and time, informed by Aldo Rossi and Colin Rowe’s Collage City. The additive nature of bricolage, accepts the never-ending process of construction and allows users to become active participants in its evolution and design. This thesis proposes an adaptable architecture, a structuring device, resilient to the changing forces of the surrounding environment.
Master in Architecture (M.Arch) - When We Talk About The Weather
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MAKING GROUND & BOUNDARIES IN UNCERTAIN LANDSCAPE NAOMI SMYTH The thesis research investigates how ground and boundaries can be made in an uncertain landscape through studying the area surrounding Lough Neagh, Northern Ireland. The thesis project creates new ground while introducing retaining walls, containment of spaces, drainage systems and straight line boundaries into the natural coastline to protect wildlife and water quality. The thesis project is a development consisting of Eel Farming and Marine Biology Facilities along the edge of Lough Neagh. Boundary lines and ground surfaces have developed throughout Centuries from megalithic mounds and hillforts to drainage ditches and contemporary
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agriculture.The thesis research explores the history and culture of making ground and boundary lines which suggest how people physically inhabit the landscape. This adaptation suggests making new ground and incisions into the landscape is a continual and man-made process. The man-made boundaries and surfaces have a symbolic dimension which is bigger than their mere function in that they form a new landscape. The thesis research highlights that the first move an architect makes when designing which always involves the ground. The first move immediately makes the architect think about the archaeology, geology and geography relating to the place and culture of the ground the site is situated on.
Master in Architecture (M.Arch) - When We Talk About The Weather
Series of Landscape Models which represent Boundaries and Surfaces proposed along the coastline of Lough Neagh, Northern Ireland Scale 1:100
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TECHNOLOGY & ENVIRONMENT M.ARCH Module coordinator Dr. Niek Turner Staff Clare Mulholland, Chris Upson (OGU Architects), Aoife McGee (McGonigal McGrath) & Mark Todd (Mark Todd Architects). With thanks to Dr. Jane McCullough (Climate NI), Andy Frew (Northern Ireland Housing Executive), Edith Blennerhassett (ARUP) & Prof. Russell T Gentry (Georgia Tech).
1. 1. Gallowglass Centre - William Brady
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Master in Architecture (M.Arch) - Technology & Environment
The technology dissertation in the first year of master’s at Queen’s is seen as the culmination of the breadth of learning students have garnered on the subject throughout their studies and career so far. In line with the ethos of the master’s course, it is an opportunity for students to further define their practice by leading a study into the aspects of technology and environment which are of particular interest to them. Recognising architectural technology is key not only to the realisation but also the process of designing buildings, each student’s individual pursuit of the technology dissertation is developed in parallel with discussions occurring within studio groups. This constant dialogue is encouraged by the structure of the dissertation, which seeks to inspire students to establish their own position in relation to technology and environment: 1. Precedent Study The first element of module involves the investigation through drawing and making of a key element of a distinguished precedent that resonates with the ethos of the studio unit. This constructed fragment is more than just a reproduction of an element of the building
Architecture at Queen’s
and is instead envisaged as a product of critical engagement with the precedent. 2. Individual Project The second element of the module investigates the design, manufacture and assembly of student’s individual studio projects. With guidance from their tutors’ students define their technological and environmental focus for this study, which, amongst other things, could be an exploration of part of the external skin of their project, where durability, and climatic and environmental difference are issues. The School of the Natural and Built Environments adoption of the Climate Emergency brings technology’s importance even further into focus. As Architects operating in an environment which is in a state of flux, the master’s technology dissertation recognises we must address the central challenges we face in a more holistic manner. In doing so, it opens up a plethora of new ways for thinking about what and how we design, allowing students the chance to develop novel and thoughtful solutions to age old problems such as context, inhabitation, space, form and comfort.
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1. 1. LSE, O’Donnell Tuomey - Ciaran Gormley & Juliette Moore
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Master in Architecture (M.Arch) - Technology & Environment
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3. 2. Astley Castle Witherford, Watson Mann - William Brady & Rachel Brown 3. Yardhouse, Assemble - Aisha Holmes & John Doherty
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1. Precedent Model, Summer House Storfjord by Jensen and Skodvin - Anna Crew & John Moran
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Master in Architecture (M.Arch) - Technology & Environment
2. 2. Westpolder Research Centre for Energy Transition - Christopher Connelly
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1. 1. Kirkistown Archery Club - Emma Kelso
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Master in Architecture (M.Arch) - Technology & Environment
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2. 2. Ceramic Factory - Juliette Moore
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1. 1. Women’s Refuge - Katie Jackson
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Master in Architecture (M.Arch) - Technology & Environment
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2. 2. Theatre, Sean McDermott St., Dublin - Anna Crew
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1. 1. Workers Club - John Moran
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Master in Architecture (M.Arch) - Technology & Environment
2. 2. A Women’s Refuge - Ellen Cassidy
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HUMANITIES DISSERTATIONS M.ARCH Module co-ordinator Dr. Mark Mukherjee Campbell Staff David Capener, Dr. Nuala Flood, Prof. Greg Keefe, Dr. Jasna Mariotti, Dr. Agustina Martire, Keith McAllister & Dr. Chantelle Niblock. With thanks to Irene Bittles, Stefan Curran, Reenie Elliott, James Hennessey, Prof. Tom Jeffries, Conor McCafferty & Prof. Brendan Murtagh.
The Humanities Dissertation module presents students with the opportunity to undertake a piece of advanced academic research and writing on a topic in the Architectural Humanities. It involves in-depth engagement with histories and theories of urbanism, architecture and related disciplines and straddles diverse themes such as political-economy, culture and society, environment and technology, community and identity, ethics and aesthetics. Students are encouraged to engage with urgent questions and challenges concerning architecture across different global contexts, and to explore novel approaches and theoretical frameworks with view to creating new knowledge about the history and future of architecture and cities. In doing so the module helps students to articulate their critical position and approach to contemporary practice. This year the module was organised into eight thematic groups which addressed topics relating to: architecture and the climate crisis; architecture and visionary thinking; architecture and phenomenology; digital infrastructural futures; mass housing; flows, territories and borders; street space and anthropology; super-organism cities. The module was also supplemented by a number of methodologies and critical reading seminars that drew on the diverse expertise of invited guests.
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Master in Architecture (M.Arch) - Humanities Dissertations
Homefront
Homefront liminal domesticity in the era of public-sector housing
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Anna Crew | Mass housing
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Harnessing the Network: The Role of the Built Environment in Harnessing the Network: The Cultivating Sustainable Futures
Role of the Built Environment in Cultivating Sustainable Futures
Bridget Bale
Learning from the Living Room
ARC7017 Student No: 40277354
Ellen Cassidy
Bridget Bale ARC7017 Student No: 40277354
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1. Generations of Sexism and the City - Aisha Holmes 2. Homefront: liminal domesticity in the era of public-sector housing - Anna Crew 3. Harnessing the Network: The Role of the Built Environment in Cultivating Sustainable Futures - Bridget Bale 4. Learning from the Living Room - Ellen Cassidy
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PROFESSIONAL SKILLS M.ARCH Staff Dr. Sarah A. Lappin, Alan Jones PRIBA & Laurence Lord. With thanks to Yemi Aladerun, John Cole, Paul Crowe, Rory Hyde, Alan Jones, Jane Larrmour, Jane McCullough, Catherine Blaney, David Capener, Richard Dougherty, Aine McEnoy, Aoife McGee, Julian Manev, Fearghal Murray, Conor Sreenan, Karen Latimer, Lisa McFadden, Ciara Young, Finbarr McMeel, Cecilia Milburn, Allan Munro, Greg Woods, Tara Brooks, Neil Galway, Dermot MacRandal, Karen McShane, Jim Mulholland, Alistair Beckett, Feargal Harron, Claire McAteer & Ali Grehan.
The context of the professional practice of architecture is changing rapidly, both within the UK and beyond. Numerous global events – economic downturn, political upheaval, mass migration, etc – have and will continue to impact upon the way we see ourselves and how we practice in the world. As we move towards solutions to the Climate Emergency, our professional practice must be a key aspect of any conversation. Thus it is important for you to consider the widening of the role of architects, with a greater potential variety of work, based on locations and roles in a myriad of types of teams. It is essential that graduates can appreciate how mainstream practice has evolved and how it will continue to do so. We also ask that students consider a varied landscape of more diverse and collaborative types of practice. There is core knowledge and understanding that the RIBA and ARB expect a Part II graduate to possess, of what it is to be professional, to be and act as an architect in a recognised context and to agreed codes of conduct. Similarly, RIBA and ARB want you to understand how to operate within the construction industry and, wider still, the design and development portions of our economy. Within and beyond mainstream architectural practice, principles of business and project planning, service delivery, finance, collaboration of the industry, cost management and ethics, in all its forms, are universal and essential.
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Master in Architecture (M.Arch) - Professional Skills
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2. 1. Procurement Workshop with John Coles, Ali Grehan & Conor Sreenan 2. Landscape of the Profession - Northern Neitherland
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CONSTRUCTION PROJECT MANAGEMENT (CPM) and BUILDING INFORMATION MODELLING PROJECT MANAGEMENT (BIMPM) MASTERS Students (CPM)
Students (BIMPM)
Artem Abgaryan, Chayan Adhikari, Peipei An, Chaitanya Sanjay Bagul, Kshitij Bisht, Phillip James Cahill, Meng Cai, Megan Alice Cameron, Shiyam Shankar Chandrasekaran, Jack Max Chapman, Ankit Chauhan, Sanberk Ciceksiz, Bolun Dou, Lingxi Du, Bakhtiyar Efendi, Ahmad Tawfiq Abed Farhan, Ciaran Gerard Finnegan, Darren Martin Fitzpatrick, Sarang Bhimrao Gaikwad, Nitin Ganesh, Jason Ivan Gawley, Danielle Gillespie, Sinchana Jagadeesh, Qingtian Jiang, Marieanne Josephine Joseph Jerard, Philip Manoj Kallukalam, Ritvik Kapoor, Katherine Kearney, Jacqueline Claire Kearns, Aquib Khan, Rachel Kivelehan, Venkata Krishnadhar Koripalla, Chen Liu, Sajan Sadashiv Lonare, Chengwei Lu, Kevin Joseph Lyden, Midhun Madhusoodanan, Manoj Reddy Mallelli Sreenivasulu Reddy, Vishnu Ajaykumar Mamparambath, Adam Alexander Neil Martin, Barry Michael Murray, Amarachukwu Chinonye Nzerem, Aditya Prasad, Guansheng Qian, Soundarya Rajan, Dylan Rea, Basim Nadeem Hanna Rishmawi, Akshay Sehgal, Gautam Shirish Shelar, Arinjay Singh, Jaskaran Singh, Yaoruiwen Sun, Nicolas Patrick
Paul Ashenhurst, William Adams, James Brown, Lee Clyde, Yiman Deng, Matthew Finnegan, Joe Fryers, James Hassan, Conall Macauley, Antonio Marin Lucas, Mark McAteer, Eoin McKenna, Lorraine McMorrow, Niall Moore, Danielle Murphy, Chicheng Rong, Christopher Watson, Ryan Zantinge & Yuhang Zhang.
Taggart, Dhirajsingh Ravindra Taur, Lalith Prakash Vemuri, Punith Kumar Venkatesh, Shivam Indrabhan Vishwakarma, Chuqi Wang, Jeena Thankam Wilson, Kun Zhang, Zhouyunqing Zhang & Yuwei Zou.
using Project Management tools to successfully deliver construction projects. Both courses combine practical, hands – on industry-oriented competency with higher level analytic skills.
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Programme Leaders Ron Coates (CPM) & Dr. Tara Brooks (BIMPM). These Industry-oriented master’s programmes prepare students for work as project managers (a growing discipline world-wide) and as construction managers in areas including consulting, contracting, and development. The BIM programme is focussed on the use of Building Information Modelling and other digital tools. The CPM and BIMPM courses work together, sharing a number of modules and both having a focus on
CPM + BIMPM
CPM Modules
BIM Modules
Project Planning for Sustainability Procurement Contract Administration and Law Project Management, Planning & Control Research Methods for Managers Con Econ & Construction Finance Organisations, People and Leadership Construction Law 2 (optional) Facilities Management / Asset Management (optional) BIM in Practice (optional) Emerging Digital Technology 1 (optional)
Project Planning for Sustainability Procurement Contract Administration and Law Project Coordination, Planning & Control Research Methods for Managers Emerging Digital Technology Build Info Model in Practice Tech BIM Implementation Dissertation
1. 1. 3D model building process - Eoin McKenna
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Emerging Digital Technology Module The images shown are from the first cohort of students taking the new Emerging Digital technology module. The Association of Project Managers stated in their Challenge Paper 1, ‘The Fourth Industrial Revolution: data, automation and artificial intellgence’, state:
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“The fourth industrial revolution - 4IR, or sometimes ‘industry 4.0’ - will be driven by technology that closes the gap between the physical and cyber worlds. More than anything else, this technological revolution will drive the evolution of the project profession in the years ahead and the emergence of what we have dubbed project management 4.0” (p. 3). 2.
In this module, students explored photogrammetry, virtual model building, 3d printing, RFID and QR codes.
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1. Galileo, Black and White Hall (QUB) - Chicheng Rong 2. Sweet Water Arch, Stranmillis - Paul Ashenhurst 3. Saraswati sculpture, Palm House Botanic Gardens - Yuhang Zhang 4. Mount Charles Gatepost - Ryan Zantinge
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CPM + BIMPM
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6. 5. 3D printing process - Yiman Deng 6. Reclining figure sculpture and 3D print model - Matthew Finnegan
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INTO QUEEN’S INTERNATIONAL FOUNDATION PROGRAMME IN ARCHITECTURE Students Bryan Adinata Zukarnain, Haneen Alsaleh, Marcus Di Fai Tan, Rayhan Haryo Muhammad, Jin Hyeonjin Kim, Jason Kwok Cheung So, Adwait Suresh & Brandon Xuan Lee. Staff Dr. Jane Rogers.
The International Foundation Programme in Architecture (IFPA) provides an introductory education to the study of architecture for International students. It provides students with the opportunity to develop the necessary English language and foundational academic knowledge and skills to progress to Year One undergraduate degree programmes in Architecture, and related subject areas, at Queens’s University Belfast. Students study four modules, an English Language and Study Skills (ELSS) module, Practical Skills for Art Portfolio, Principles of Architectural Design and Practice and one other academic module. Within the two architecture modules students are taught a range of skills which include being able to represent 3D elements of space, materials and objects and to communicate the interpretation of reality through a range of media and representations. Students are also introduced to the communication skills required to clearly present and discuss design ideas in front of an audience in a clear and convincing manner. Through several careful studies of precedent architects they learn how to interpret and analyse architectural drawings and concepts. Students are also taught rigorous orthographic drawing skills and through these learn how to strategically and intellectually organise space to create both functional and meaningful architecture. They also develop design skills in relation to the physical representation of buildings within an existing urban context and cultural setting and are challenged to reflect on the role of architecture in shaping the contemporary city especially with regard to a sustainable future.
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INTO
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2. 1. Pavillion Skeches - Bryan Adiata Zukarnain & Jason So Kwok 2. Pavillion Model - Adwait Suresh & Rayhan Haryo
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3. 1. Precedent Study Plan - Rayhan Haryo Muhammed 2. Pavillion DesignHaneen - Alsaleh & Marcus Di Tai Fan 3. Design Project- Carving Through Section - Bryan Adianta Zurkarnain
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INTO
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6. 4. Digital Representation - Marcus Di Tai Fan 5. Leading Lines - Brandon Xuan Lee 6. Precedent Study Model - Jin Hyoenkin Kim
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SKILLS BAZAARS
Co-ordinator Dr. Chantelle Niblock Staff- Led Workshops & Seminars Fra McBride - Concrete Casting Workshop Raymond Finney – Prototyping in Aerospace Jane Larmour - Water colour & Architecture Dr. Rachel O’Grady - Built: East Pavilion Alumni Seminars – Design Thesis Naomi Falkner Mark Donnelly Rebecca McConnell - RIBA President’s Medal Project
Skills Bazaars provided the opportunity to share and celebrate architectural skills, bringing BSc and MArch students together within an informal context. A range of short talks, seminars and practical workshops were held over four events during the year. Students critiqued and explored different media and workflows used for architectural thinking and the representation of ideas, including sketching, orthographic drawing, model making, concrete casting, prototyping, watercolour, thesis design, and dissertation writing. The seminars were largely student-led, with a handful of inspirational talks and specialist workshops led by academics and technical staff at the School of Natural and Built Environment.
Student-led Seminars Holly Chapman - Power of Line Drawing Karolina Dimitrova - Bow-Wowing your Drawings Mark Ruddy – Illustrator Declan Davis - Relief drawings and Concrete casting Jason Crawford - Techno Tryptic - Photoshop Anna Crew - Composite Imagery Adam Doherty - Casting and Woodwork James Harris - Casting and Woodwork Roger Bonnar - Casting and Woodwork Chris Hamill – Philip Webb Award Project Rebecca Coburn – Spatial Forensics Apurva Lengade - Thinking in Textures Glen McNamara – Dissertation Design Jason Crawford & Leonard Chipawa - Changing Workflows
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Skills Bazaars
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COLLABORATIONS
Transcribed Concluding Comments OHC Evening Symposium
QUB MArch 1 - Studio 5 When we talk about the weather
On Friday the 12th of June, Queen’s University Belfast, MArch I students presented this semester’s work back to members of the Open Heart City collective; Associate Prof. Katherine O’Donnell; Professor Hugh Campbell; Dr Maeve O’Rourke and Prof. Gary Boyd. With guest reviewers, Dr. Sarah A Lappin, Head of Architecture at QUB and Mary Harney, a survivor of an industrial school and Mother & Baby Home, an experienced social justice advocate, a current member of the Department of Children and Youth Affairs’ Collaborative Forum, and an LLM Candidate at the Irish Centre for Human Rights at NUI Galway. Members of CoLab81-7; Plattenbau Studio, Dún na dTuar and Denise Murray, also joined for the evening. QUB MArch Studio 5 this semester ran in parallel to and was supported by the
Bridget Bale, Anna Crew, Czarinah Malate, John Moran, Nicola Moran & Zoe Bertel. Catherine Blaney & Dr.Colm Moore. Contributors Kelly Ledoux Chris Hamill CoLab81-7 plattenbaustudio Denise Murray Dún-na-dTuar Guest Reviewers
Arch 1 studio in UCD. A recording of the evening has now been shared publicly so all can listen to the students talk about their work along with insightful and inspiring comments form reviewers.
Prof. Gary Boyd, Prof. Hugh Campbell, Dr. Sarah Lappin, Prof. Katherine O’Donnell, Dr. Maeve O’Rourke & Mary Harney
The following transcript documents the concluding discussion and reflections of the panelists.
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Collaborations
Concluding Comments [CB] [SL] [DM] [KOD] [MOR] [MH]
[CB]
Architecture at Queen’s
Catherine Blaney Dr. Sarah Lappin Denise Murray Prof. Katherine O’Donnell Dr. Maeve O’Rourke Mary Harney
I’m not sure if anybody else wants to say anything, I am going to conclude. I thought this evening was going to run until eight and I’m aware that other people may want to have a little bit of their Friday evening, afterwards. What’s been really important is that the students have been able to present the work that they’ve done this semester back to the people that are involved in the collective. This is a very important topic because it’s about our heritage in Ireland, how we remember our history and how we incorporate all the parts of our history. The projects are very real and the work that the students have done this semester will have real influence on how we perceive and maybe even act on the site. So, I think that this conversation has been really useful for both the members of the collective and also for the students. Quite often in university, it’s almost an echo chamber, where we only talk to ourselves about the work that we’re doing, but this is now something that’s public. That everybody can become involved in and contribute to the conversation. I’d like to thank all of the reviewers this evening, I would especially like to thank Sarah, who is our head of school, for giving up your evening and contributing to the conversation. I’m wondering, would you like to say anything to conclude?
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[SL]
I have had a difficult week and it was such a great end to it. I think the comments made by the non-architects were fantastic and it really makes me think that we’ve got to get more of you into university, for sure. Thank you so much for those of you who hosted our students, gave them the project on which to work. Three cheers to the students, you all did an enormous amount of work. I think you all spoke about your projects which is very accessible for the people who don’t talk about fenestration all of the time. So, well done on that too. I don’t have means to offer a toast, but, Catherine, well done, superb. I think it’s great that you’ve done this, and we need to make sure everybody knows about it. It’s not often that this happens.
[CB]
Thank you for joining us. The other people to thank are Katherine and Maeve for giving us the forum to have the conference this evening, or have this symposIum, as we call it. Would you both like to say anything as well, just to conclude?
Collaborations
[KOD]
Even though I don’t get all of it, it’s just wonderful. And yeah, I won’t say much, because I know Maeve is going to say the exact same thing as me and I don’t want to steal her thunder. It is just so amazing to have you guys realize that space. It already feels like a reclamation. It already feels like an opening up. It already feels like we are changing the narrative and with the care, attention, and skill that you bring to imagining the space. It is such a tonic I think, for people like Maeve, Kelly and me who have been working on this for a long time.
[MOR]
Yeah and I’m going to definitely have to give the last word to Mary but I couldn’t think of a better thing to be doing on a Friday evening because it’s just joyous to sit here and see, like, okay, they’re not actual concrete but there… It’s a whole other dimension to the, kind of, I’m not going to make the architects uncomfortable by saying ‘campaign’, but the imagining of a different Ireland and it’s actually no less than imagining a different country for ourselves. The benefit of being Irish is that the country is small enough so that a very small number of committed people can change it radically. Arguments only go so far and to be able to actually show in your drawings what something could look like. I think softens will soften because it’s only positive. Also, it’s so inclusive because, I suppose, what you do in a space by virtue of the fact that there are new people living there now includes people automatically. So, it’s just a very inclusive way of imagining how we could achieve reparation, ultimately, which includes from an international, European and ideally constitutional rights perspective. One of the whole points of reparation is to guarantee non repetition. So, in theory, making reparation for the past is all about the future. Something that I’m always telling my students is that we actually make the best legal arguments by speaking to the people themselves who, of course, have experienced abuse in the past. What they will say, and I know that Mary feels this way and she’s not alone, is the reason that they’re talking about this is because they want to make sure that it doesn’t happen again. So, this whole architectural experience fits perfectly into that, that you’re actually concretely envisioning what the future could look like. So, it’s just amazing.
Architecture at Queen’s
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[KOD]
So, before Mary gets the last word, I just want to jump in. You know, there is a famous quote from Yeats that I often think about. It’s a preface on one of his last books of poetry called ‘The Tower’. He says, “in dreams begin responsibilities”. I think what we’ve ended up with in this particular project on Sean McDermott Street is taking the responsibility to do the dreaming. But we did not have the skills, guys. You have the skills. So, you’re the dreamers for the responsibilities that have been weighing so heavily on a number of us. Yeah, thank you. You know, never underestimate them, maybe you won’t go on to stay in architecture, but please never underestimate the amazing skills that you have to make spaces living and to bring us into them and to describe what they might be. I’d love to have those skills and I don’t have any talent in that area. So, I can’t even begin to think that I might have ever been an architect. But what you do is very, very wonderful. So, yeah. Thank you.
[DM]
I mean, I think just for the head of school here to hear all that and we’ve had conversations about the fourth year studio in UCD, and there were some people who are worried about the fact that you know, architecture students were slightly being used as agents to, kind of, be in a campaign. But I would say, actually, you know, in terms of social purpose, we have to own that ground that being creative and making propositions is what we do. There was a question on an educational level or pedagogical level, about whether we should be encouraging students to be acting as agents for this discussion. But I think if we aren’t going to act like when we met Catherine and Maeve, they were saying, well, you know, we’ve talked about this and we fight about this and we argue about this, but somebody needs to show what it could be. I think that we should claim that ground and not be reticent. I’m not saying that all the studios and all the students, but I don’t think that KOD we should apologize for being agents.
[SL]
This is a territory in which we feel comfortable. We have other studios like this, but what was really unique about this one is the extraordinary sensitivity of the site. And the fact that so much of the community is heavily engaged, like Mary.
Collaborations
[DM]
So over to Mary to conclude.
[MH]
Oh, thanks. I do agree. I studied Human Ecology for my B.A. in college. Human Ecology is about the interconnectedness of all things. So, if we disconnect the architects from the historians and the community, we become elitist in everything we do, instead of this wonderful connecting. The community on the ground, the ideas of young people, the creativity, the skills, as Katherine said. You put all of those together and what we’re doing is we’re creating history by marrying the past with the future. We have linked our history of institutionalisation and we will not forget it. It’s because when we forget our history, these awful things get to be repeated. You know, a little school, a school for children that we never experienced would be a legacy. This is our legacy to today, and without the architects being, we all have to be involved as a community. We can’t let that go. We cannot just be “I’m campaigning for this and your campaigning”, no, we’re campaigning together. We are all part of this work and it means that so many more people will know the story in different ways. They didn’t have to experience the hardships, but they can know the story, and they can pass it on and keep it alive, keep the history alive. So that’s one thing that I had to say. I also have to say that at a certain point today. I thought I’m not going to zoom because the news came out that the Mother and Baby Commission investigation had put their report back again to October of this year. I was so downhearted and I was so disappointed. Then I come on here and I’m lifted up by us, by the people, by the community and it lifted my spirit. When I was working with Kelly and Kelly’s group, I can’t tell you the joy I had, sitting on a train being asked questions and the absolute spark of humanity that was growing into a flame with the young people. It’s just, it is the hope that this will never happen again in Ireland, and it’s the young people that are carrying on for us that are getting over the hill. Not you Katherine, not you Maeve, but me. So, I want to thank everybody for such a wonderful, hopeful evening. It has been magical.
[CB]
Architecture at Queen’s
It’s been amazing having you, Mary. Thank you very much for joining. I don’t think I can say anything to follow that at all. So, thank you everybody for coming and I hope you all have a good evening.
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MSc Future Cities
NEW MSc FUTURE CITIES PROF. TOM JEFFERIES CHAIR OF FUTURE CITIES Future Cities is situated within the rich disciplinary context of School of Natural and Built Environment, conceived as a forum for wide ranging, leading edge inter-disciplinary design research and education. This develops, critiques and communicates ideas of place, environment, culture, technology and sustainability to define the limits of contemporary and future urban, suburban and rural space. Cities have a 6000 year history and by 2050 68% of the world’s population will be urban. Challenges facing the future city demand enquiry, analysis and new insights developed through innovative interdisciplinary and multi-partner design research, testing and actions. Future Cities engages scholarship and practice from diverse backgrounds to conceptualise, propose and critically test possible futures. This work considers aesthetics, spatial organisation and operation, sustainability, infrastructures, governance, the value of place and how we live, as the context for new conceptions of the urban. Creativity and rigour are vital tools to explore, define and design the nature of the 21st century city, acknowledging the necessity to reimagine the idea of the city within a digitally infused and spatially attenuated age with significant environmental and societal challenges. A new master’s course supporting Future Cities will launch in 2021. MSc Future Cities is designed to provide a dynamic, research driven testbed, connecting wide ranging expertise, research
Architecture at Queen’s
and practice at global, national and local scales. The course explores the conceptual possibilities of utopias, to identify, research, develop and communicate testable design-based responses to key societal challenges. This extends and connects practice and theory through ground-breaking projects, applied work, research and pilot studies. MSc Future Cities is Northern Ireland’s only course providing the key core skills required to become a chartered Landscape Architect. Advanced practice in design-based formation of cities and landscape directly uses creative studio-based education methods to enable wide ranging exploration of future cities themes acknowledging student’s prior expertise and interests. This is coupled with developing advanced communication skills to convey ideas through a variety of media to a range of audiences. Working with experienced academics and experts in the field, the MSc Future Cities equips graduates with the skills necessary to engage in the complex area of designing the 21st century city and landscape. Creatively working in trans-disciplinary contexts with external collaborative partners this addresses complex, open-ended and dynamic challenges with realisable and testable projects and proposals. Located on the leading edge of the field we aim to develop capacity for productive change and applied innovation.
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In loving memory of Naomi Lynn.
www.architectureatqueens.co.uk