Architecture at Queen's Yearbook 2020-21

Queen’s 2021 Architecture Yearbook

BSc Architecture (RIBA Part 1) MArch Architecture (RIBA Part 2) Construction Project Management (CPM) Building Information Modelling and Project Management (BIMPM)

Copyright © 2021 All Rights Reserved Architecture at Queen’s Queen’s University Belfast Edited & Designed by Dr. Seán Cullen Laurence Lord Cover Image by Louis Shing ISBN: XXXXXXXXXX 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.

BSc (Hons) Architecture

114.

118.

M.Arch

BSc Architecture BSc Stage 1 BSc Stage 2 BSc Stage 3

12.

14.

24.

34.

QUB UCD Collaborative Design Charette

44.

Vertical Studios

-Architecture & Montage -CineArch

-Civic Stage

-Holding Pattern

-Inside Out

48.

58.

68.

78.

88.

BSc History & Theory BSc Technology & Environment Skills Bazaars

98.

106.

112.

QUB UCD Radio Show

114.

Architecture at Queen’s

Emma Campbell Elizabeth Gilligan

Master in Architecture M.Arch Studios

-Architettura Superleggera -Scaffold

-Future Cities

-In Praise of Adaptation

-New Order M.Arch Technology & Environment M.Arch Humanities Dissertations M.Arch Professional Skills

122.

CPM & BIMPM INTO MSc in Advanced Architectural Design

212.

214.

218.

124.

140.

156.

170.

182.

200.

208.

210.

3.

YEAR IN REVIEW DR. SARAH A LAPPIN - HEAD OF ARCHITECTURE

1.

1. Kayla Enos - Stage 3

4.

Introduction

Welcome the 2020-2021 End of Year Show Book, our celebration of our students and staff in creating an architecture school in a second year of significant disruption. Our community has created a wonderful body of work despite having to do so from bedrooms, dining room tables and attics, with younger siblings, children, pets and delivery people arriving on our screens in a strange parade. Many people were home schooling and caregiving alongside these pressures, and my hat goes off to everyone for managing these difficulties with grace and aplomb.

We have continued to build on our commitment to ensuring our students are prepared to tackle the Climate Emergency. This year, we were delighted to be joined

by Julia Barfield, Marks Barfield and by Gary Clark, HOK as honorary professors, both proponents of architecture which contributes without further destroying our planet.

Next year, we will be further supported by two more honorary staff, Rob Roggema of Citta Ideale and Gareth Doherty of Harvard University. With all of them, we will continue to modify what and how we teach as we face these global challenges.

Particularly impressive have been the efforts of the student-led Queen’s Climate Action Network, a group committed to ensuring we remain focused on more sustainable futures. So exemplary were their social media presence, organisation of lectures and insistent pressure on the university to maintain climate issues as a focus,

Architecture at Queen’s

they were featured in RIBA Journal in January. With such a strong foundation, we look forward to the momentum of QCAN growing in the future.

Our long-standing studio culture has been tested once again this year, with most of our interactions taking place online. However, it meant an increased flexibility for visitors, (with less impact on the climate), and allowed us to bring guests from around the world to QUB, from Canada, China, Chicago, Cairo – and Cavan. We were also able to link up with University College Dublin for several events, from sharing our research interests – everything from “Future Urbanisms” to “Expanding Humanities” – to an incredible one-day charette in February which saw 220 undergraduate students working together online.

Our student architecture society, ArcSoc were champions in navigating this strange online world, with multiple social and advice sessions held for the benefit of their colleagues. Their creative work on this front, in addition to their every day workloads, was extraordinary; we are forever grateful to their commitment to help one another.

In spite of the ongoing stresses we’ve all faced this year, we think you will unable to be anything but impressed with the work you’ll see in these pages. We look forward to being together in studio, workshop, and lecture hall next year – but I urge you to take some time now to celebrate this incredible work.

5.

PUBLIC COLAB 2021 - POST-COVID PUBLIC LIFE DR. NUALA FLOOD / DON DUNCAN Students Aarjan Bista, Adwait Suresh, Alena Romanovskaya, Alexander Knowles, Alexander Knowles, Alexandra Powell, Andrea Ranilla Gonzalez, Annie Haughey, Aquiles Román Serrano, Beatriz Pina Semedo, Benjamin Murray, Beth Mogey, Bo Xiong, Bryan Adinata Zulkarnain, Cameron Mcilroy, Caolan Laverty, Celine Lecouturier, Charles Monaghan, Charlotte Henrich, Ching Ki Sen, Chloe Glass, Chun Cheung, Ciara Higgins, Ciara McMullan, Clarissa Moore, Connor Charnock, Dana Zaidoun Faleh Otoom, Daniel Bittles, Daniel McCorry, Darcy Carroll, Darius Mc Colgan, David Russell, Deeven Ram Ram Kumar, Deimante Keturakyte, Dillon OHanlon, Duan Ma, Elizabeth Carney, Ellen Dunlop, Emily Hayes, Emily McCreadie, Emma Farr, Esraa Hamido, Ewa Cichon, Fintan Dalton, Francesca Logan, Gearóid Dolan, Georgia Laverty, Grace Hamilton, Haneen Alsaleh, Helga Beshiri, Hengrui Zhang, Hollie Lake, Hyeonjin Kim, Imogen Skelton Wright, Jack Lavery, Jake Brogan, Jessica McDonagh, Jordan Nolan, Karthic Vivehananthan, Katherine Stevenson, Kavya Sahgal, Kayleigh Colgan, Kimberly Yap, Kwok So, LauraJane Smyth, Leanne Burke, Lorcan Doherty, Louisa Buckle, Malaz Mohamed, Marcus Di Fai Tan, Maria Louiz Keciri, Mariana Alvim Da Cunha, Matthew Crowe, Matthew Graham, Matthew Lowry, Matthew McAllister, Matthew O’Neill, Matthew Watson, Merin

6.

Antoney, Mohamed Hazeem Bin Mohd Lokman, Muhammad Rayhan Haryo, Niamh Cunningham, Niamh Hughes, Nuhman Shibly Abdul Kalam, Pei Yee Choo, Phoebe McPherson, Rachael Akomolafe, Rachel Aitcheson, Rachel Park, Rhys Carson, Robert McStravick, Rongzhen Jiang, Roqaiya Ashraf, Rose Magee, Rose McKiernan, Rose Rogers, Ross Blackbourne, Ryan McGrath, Samuel McCormick, Sara Partida Rodriguez, Seamus Mullan, Shane Crilly, Shannon McVeigh, Sharar Ahmed, Shauneen Cavanagh, Sinead Cromie, Sofia Binti Mohd Nasir, Swee Tee, Tong Fong Koo, Vanessa Nelson & Yongshi Wu. Staff Dr. Jasna Mariotti, Dr. Chantelle Niblock, Dr. Sarah Lappin, Dr. Laura Coucill, Dr. Sean Cullen, Dr. Emma Campbell, Dr. Mark Campbell & Rebecca-Jane McConnell, With thanks to Dr .Callie Persic (Belfast City Council), Dr. Lucy McCarthy (University of Bristol), Dr. Anne Touboulic (Nottingham University), Colum O’Riordan (Irish Architectural Archive), Dr. Connor McCafferty (QUB), Prof. John Barry (QUB), Prof. Greg Keeffe (QUB) & Ben Brown (SARC, QUB).

Public CoLab 2021

Public CoLab is a collaborative research laboratory that harnesses the energy, skills and creativity of Stage 1 Architecture and MArch students at Queen’s University Belfast and combines them with other disciplines of practice at the University. Since 2019/20, that other discipline has been Broadcast Production.

Public CoLab takes the form of an intensive week-long workshop, during the first week of the second semester.

Small teams of students work with external partners to build an understand a particularly pertinent spatial phenomenon in Northern Ireland and to communicate their findings using a variety of multimedia.

floors that modify what was once normal behaviour.

Other films reflect on how the pandemic has altered the nature of public space. They depict how working from home has resulted in public life infiltrating our once private worlds. Other films explored how we can harness the crisis to create better, more sustainable, and more equitable ways of using and occupying Belfast’s city centre. As such, some films make the argument for better public rest rooms, while others present a future vision of how the city might support sustainable food production.

In 2021 Public CoLab investigated how the Covid-19 pandemic has dramatically changed the way we live our public lives in Belfast. This issue was explored through the lens of everyday activities such as sharing a meal, going to the pub, having a coffee, shopping for groceries or studying. The students communicated their findings using the medium of short films.

The collaboration between architecture and broadcast production continues to yield multiple reciprocal benefits. Amongst other things, the architecture students have gained skills in crafting place specific narratives, economy in storytelling and the importance of soundscapes in design propositions. The broadcast production students learned about the nuances of reading places and about how the built environment can be harnessed as a narrative device.

Some of these films document the spatial interventions ushered in by pandemic and compelled into being by social distancing requirements. They capture the screens, walkways, temporary hoardings, traffic cones and taped

We hope you enjoy the stills from the films are that are presented in this publication and we encourage you to view the associated thought provoking and timely films on the Architecture at Queen’s YouTube Channel.

Architecture at Queen’s

7.

1.

1. Public Collab 2021 - Postcards from Nowhere, Postcards from Everywhere

8.

Public CoLab 2021

1.

Architecture at Queen’s

9.

1.

1. Public Collab 2021 - Having a Post Covid Beverage

10.

Public CoLab 2021

1.

Architecture at Queen’s

11.

1.

1. Public CoLab 2021

12.

Introduction

BSC (HONS) ARCHITECTURE DR. NUALA FLOOD - DIRECTOR OF THE BSC ARCHITECTURE PROGRAMME The BSc (Hons) Architecture programme is a dynamic learning environment that encourages students to develop professionalism, critical thinking and creativity through the acquisition of architectural design, research, analysis and communication skills.

The programme pivots around the design studio and is articulated around three interconnected and overlapping areas: Architectural Design and Communication, History and Theory of Architecture and Technology and Environment. Joint studio projects for stage two and three students, live projects for stage 1 and MArch students, shared skills development events (Skills Bazaar) and collaborative learning projects with planning and engineering students all enrich the curriculum. A well-established architecture society (ArchSoc) and the Queen’s Climate Action Network (QCAN) provide further social, educational, and cultural lectures and events.

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

Architecture at Queen’s

in vertical design studios. Each studio sets a different 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.

The 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. These challenges open up 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.

It is unfortunately that in 2020/21 the pandemic limited in-person teaching. The BSc Architecture staff have demonstrated exemplary professionalism and dedication in developing new online teaching methods across the programme and in supporting our students to navigate this new learning context. In this supportive educational environment, the students’ produced impressive and thought-provoking projects.

I am proud to present some of the outcomes of the imaginative and creative endeavours of the BSc Architecture programme here in this publication.

13.

BSC ARCHITECTURE STAGE 1 Students Rachael Akomolafe, Haneen Alsaleh, Helga Beshiri, Ross Blackbourne, Jake Brogan, Louisa Buckle, Leanne Burke, Elizabeth Carney, Connor Charnock, Pei Yee Choo, Shane Crilly, Sinead Cromie, Niamh Cunningham, Fintan Dalton, Lorcan Doherty, Gearóid Dolan, Emma Farr, Chloe Glass, Esraa Hamido, Grace Hamilton, Muhammad Haryo, Annie Haughey, Emily Jane Hayes, Charlotte Henrich, Maria Louiz Keciri, Deimante Keturakyte, Hyeonjin Kim, Caolan Laverty, Georgia Laverty, Jack Lavery, Matthew Lowry, Rose Magee, Darius Mc Colgan, Samuel McCormick, Jessica McDonagh, Cameron McIlroy, Rose McKiernan, Ciara McMullan, Phoebe McPherson, Robert McStravick, Malaz Mohamed, Seamus Mullan, Benjamin Murray, Dillon O’Hanlon, Rachel Park, Beatriz Pina Semedo,

Alexandra Powell, Deeven Ram Ram Kumar, Rose Rogers, Alena Romanovskaya, David Russell, Imogen Skelton Wright, Adwait Suresh, Marcus Di Fai Tan, Swee Joong Tee, Matthew Watson, Yongshi Wu, Kimberly Yap, Hengrui Zhang & Bryan Adinata Zulkarnain.

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, Chris Hamill, Brett Mahon, Julian Manev & Rebecca-Jane McConnell.

1.

1. Emily Hayes

14.

BSc Architecture - Stage 1

Stage 1 in Architecture at Queen’s encourages students to pursue and develop ideas whilst engaging in critical discussions about place, context, scale, structure and materiality. Skills development in the first year is a significant part of the course.

We encourage students to use a range of media, including water colouring, paper/card models in different scales, hand-drawing, film making and interactive online platforms, accelerating their digital literacy skills.

In semester one, through the first project – Ordinary objects – students began their journey by selecting and studying an ordinary object from their immediate surroundings. They sought to understand its qualities, materiality, and assembly, and embrace its distinct features. In response to the global pandemic, the second project – One room – reflected on how each individual inhabited a space for different activities. Responding to these challenges, students were asked to imagine new spatial conditions and configurations for habitation through making of a one-room design proposal. The final project in the first semester – Polar architecture – dealt with Antarctica’s challenging landscapes, harsh conditions and terrains that dominate over its horizon. The project for a research station in Antarctica requested

Architecture at Queen’s

a direct response to the character of an individually chosen site, and initiated a critical dialogue between student’s imagination and the impact of architecture in challenging climatic conditions.

In semester two, design projects were primarily research driven. The first - Public CoLab – a oneweek collaborative research laboratory, with master’s level students, used the power of architectural design research to investigate complex issues of public concern in Belfast. This year, in response to the global pandemic, CoLab explored how to create better, more sustainable, and more equitable ways of using and occupying Belfast’s city centre. The second project addressed the need for more outdoor meanwhile spaces through the design of an Exchange Space. In teams, students researched multiple precedents, explored creative design processes, and developed a design through physical models, sketching, COVID safe site visits, and developed a design through virtual collaboration. The third project – Makers in Belfast – looked at ways in which a residential dwelling and ‘light industry’ can co-exist within an urban environment. This final project was an individual project, based on a shared site survey and analysis of three sites in need of regeneration in Belfast, developing diverse architectural explorations.

15.

1.

2.

1. Esraa Hamido - Ordinary Objects 2. Caolan Laverty - One Room

16.

BSc Architecture - Stage 1

3.

4.

3. Hyeonjin Kim - One Room 4. Alena Romanovskaya - One Room

Architecture at Queen’s

17.

1.

2.

1. Emily Hayes - Polar Architecture 2. Hyeonjin Kim - Polar Architecture

18.

BSc Architecture - Stage 1

3.

4.

3. Charlotte Heinrich - Polar Architecture 4. Fintan Dalton - Polar Architecture

Architecture at Queen’s

19.

1.

2.

3.

1. Fintan Dalton - Makers in Belfast 2. xxx - Swing School 3. Emily Hayes - Makers in Belfast

20.

BSc Architecture - Stage 1

4.

5.

6.

4. Rose Magee - Makers in Belfast 5. Pei Yee Choo - Makers in Belfast 6. Caolan Laverty - Makers in Belfast

Architecture at Queen’s

21.

1.

2.

1. Charlotte Heinrich - Makers in Belfast 2. xxx - Craft Create

22.

BSc Architecture - Stage 1

3.

4.

5.

3. Esraa Hamido - Makers in Belfast 4. Jake Brogan - Makers in Belfast 5. Emily Hayes - Makers in Belfast

Architecture at Queen’s

23.

BSC ARCHITECTURE STAGE 2 Students Anthony Armstrong, Mikaela Arroyo Olmedo, Holly Boal, Mac’Avane Boca, Conor Boyle, 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, Paolo De San Jose, Egle Dinapaite, Niamh Douglas, Connor FitzsimonsWest, Niamh Gill-Ryan, Lauren Gonsalves, Jiaxin He, Francesca Homard, Isabella Innocenzi, Alexandra Judd, Shreya Karnani, Jiyoung Ko, Haojie Kong, Radostina Kostova, Yamon Phu Kyaw, Abigail Kyle, Lauren Laverty, Lee Leonard, Xingyu Liu, Kate Low, Matthew Man Lui Lok, Gerard MacAllister, Zoé Mangan, Dylan Mc Callion, Daniel McCambridge, Sam McCracken, Ryan McCracken, Luke McMahon, Joel McNeill, Malgorzata Migut, Imogen Miller, Cameron Morris, Palak Ish Narang, Matthew Newman, Seamus O’Leary, Dearbhail O’Neill de Bruin, Alice Poole,

Haridhya Rajsundar, Angela-Faye Sagayno, Minhyeok Seo, Erin Simpson, Sara Sokolowska-Katzer, Kyaw Swar, Xue Cong Tee, Sarah Teggart, Moe Pa Pa Tun, Hasan Uddin, William Warnock, Madeleine Weymouth, Ivy Wijaya, Han Ye Shuo & Bartlomiej Ziobrowski Staff Stage Co-Ordinators; Dr. Niek Turner & Dr. Rachel O’Grady Rachel Delargy, Dr. Gul Kacmaz Erk, Aíne McEnoy, Tarla MacGabhann, Mark Todd & Chris Upson.

With thanks to Dr. Laura Councill, Dr. Nuala Flood, Prof. Tom Jeffries, Prof. Greg Keeffe, Dr. Sarah Lappin, Laurence Lord, Prof. Michael McGarry, Clare Mulholland, Tim O’Malley, Michael Rogers & Gregg Woods.

1.

1. Abigail Kyle

24.

BSc Architecture - Stage 2

In the first semester of Stage 2 students were asked to explore future housing. The project was a collaboration with Clanmil Housing Association and articulated a shared ambition to re-inhabit Belfast’s city centre, which has seen significant depopulation over the past decades. with a mix of typologies to house individuals or families from a range of backgrounds.

2. Housing and Neighbourhood Housing is a community of residents. So, in addition to housing being an aggregate of private homes 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.

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 four interconnected sites, of differing scales and briefs, situated in the rich dense urban context of Belfast’s Botanic area this approach led them to consider housing that contributed to sustainable communities: environmentally, socially and economically.

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.

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.

Architecture at Queen’s

The exploration of these themes was supported by 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.

25.

1.

2.

3.

1. Daniel Cassidy 2. Sara Sokolowska-Katzer 3. Egle Dinapaite

26.

BSc Architecture - Stage 2

4.

5.

4. Ivy Wijaya 5. Claudia Cabrera

Architecture at Queen’s

27.

1.

2.

1. Niamh Douglas & Alice Poole 2. Niamh Douglas

28.

BSc Architecture - Stage 2

4.

3.

3.

5.

3. Lauren Gonsalves 4. Jiaxin He 5. Migut Malgorzata

Architecture at Queen’s

29.

1.

2.

3.

1. Haojie Kong 2. Kate Low 3. Leonard Lee

30.

BSc Architecture - Stage 2

1.

5.

4.

4. Matthew Lui-Man Lok 5. Madeleine Weymouth

Architecture at Queen’s

31.

1.

3.

2.

1.

1. Ryan McCracken 2. Zoe Mangan

32.

BSc Architecture - Stage 2

3.

3.

3.

3.

3. Sara Sokolowska-Katzer

Architecture at Queen’s

33.

BSC ARCHITECTURE STAGE 3 Students

Staff

Fahad Al-Omrani, Natalie Anderson, Arjun Bharj, Aisha Abdalla Mohamed Buzeid, Sevinc Kubra Cakmak, Maria Elena Calingasan Cariaga, 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, Pey Kwang, Caitlin Lavery, Peter Lawson, Ket Yang Leng, Chit Hei Leung, Tsz Fung Ma, Ayshwarya Madhu, Nathan McCreery, Eve McFarlane, Ellen McKeag, Suman Miah, Méabh Minnis, Rachel Murphy, Luke O’Brien, Alexis Payot, Anna Shaw, Karin Wiman, Tak Wong & Deirdre Yoong.

Stage Co-Ordinators; Laurence Lord & Clare Mulholland.

Susie Brown, Dr. Nuala Flood, Fearghal Murray & Patrick Wheeler.

With thanks to Dr. Sarah A Lappin, Jeffrey Bolhuis & Prof. Michael McGarry.

THOMAS BURGH HOUSE DEREK TYNAN ARCHITECTS N O R T H E L E VA T I O N , P L A N & S E C T I O N A - A A T 1 : 1 0 0

A

N

A

1.

0

5

10

1. Group Research - YellowRed Analysis

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 on the adaptive reuse of an existing building, reimagining the building 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 site is located in Belfast, the former Bank of Ireland building on Royal Avenue, which has been vacant since 2005. This is an important building within the local context and forms the city landscape, influences our urban experience and has significant potential as cities are reimagined and redeveloped.

In this semester the students were challenged to examine and propose an urban design intervention for an existing building in the city.

Sustainable design is the key generator to understand

the importance of using the materials and structures that we already have built. Climate change in the 21st Century is projected to have severe detrimental consequences for the environment and societies world-wide. Deep energy renovations of existing buildings is a key priority, with the objective of moving towards high-performance and low-carbon buildings.

Roughly 65% of the 2060 total expected buildings stock in is already built. A reuse and adaption design can reduce embodied energy/carbon, reduce landfill and transportation of materials and retain and enhance existing architectural and cultural heritage.

The research looked at adaptive reuse exemplars, using drawing and models to understand the various iterations of the building over time. How to liberate space, to maximise structural gifts and to unlock latent potential. Students were asked to consider a new future for the building under the themes of learning, making and sharing. These themes helped to develop different perspectives and new ideas on what a former financial building could become in a carbon conscious future.

2.

2.

2. Group Site model package produced for every student to make off site

Architecture at Queen’s

35.

1.

2.

2.

1. Arjun Bharj 2. Grace Carney

36.

BSc Architecture - Stage 3

3.

3.

4.

3. Ellen McKeag 4. Hoay Qing Chow

Architecture at Queen’s

37.

1.

2.

1. Karin Wiman 2. Peter Lawson

38.

BSc Architecture - Stage 3

3.

4.

3. Maria Elena Calingasan Cariaga 4. Hannah Doran

Architecture at Queen’s

39.

1.

2.

1. Kayla Enos 2. Méabh Minnis

40.

BSc Architecture - Stage 3

1.

3.

3. Annie Hart

Architecture at Queen’s

41.

1.

2.

1. Zoey Chan 2. Natalie Anderson

42.

BSc Architecture - Stage 3

3.

4.

3. Alexis Payot 4. Rachel Murphy

Architecture at Queen’s

43.

QUB UCD COLLABORATIVE DESIGN CHARETTE STAGE 2 / STAGE 3 Students Stage 2 and 3 Architecture Students from Queen’s University Belfast and University College Dublin

(QUB), Clare Mulholland (QUB), Prof. Michael McGarry (UCD), Prof. Greg Keeffe (UCD), Mark Price (UCD), Michael Pike (UCD) and Peter Tansey (UCD), Prof.

Hugh Campbell (UCD) & James Rossa O’Hare (UCD).

Staff

With thanks to

Dr. Nuala Flood (QUB) and Alice Clancy (UCD).

Prof. Nasrin Seraji (UCD), Dr. Sarah Lappin (QUB), Rebecca-Jane McConnell (QUB), Dr. Emma Campbell

Yvonne Farrell (Grafton Architects) & Orla Murphy (UCD).

1.

1. Yvonne Farrell of Grafton Architects introducing the QUB UCD Design Charette

44.

BSc Architecture - QUB UCD Collaborative Design Charette

The Covid-19 pandemic has transformed the way we live our public lives. In a very short period, there have been profound shifts in the way we use, occupy and dwell in public space. There have been significant spatial consequences associated with these changes.

Ad-hoc tents, canopies and awnings have sprung up around the city, sheltering us in socially distanced queues as we wait for coffees, Covid tests, groceries, hardware and, soon, vaccines. The pandemic has made it clear that now more than ever, we need more generous, flexible and sheltered public spaces in our cities. Such places could offer a response to the spatial requirements of the public health emergency and a setting to help us flourish in a post-pandemic world, providing an outdoor living room for the city and enabling us to live our collective public lives together with dignity, comfort and beauty. This project challenged the students to design such a public place for either the Botanic Gardens, Belfast, or Merrion Square, Dublin.

This one day online collaborative design charette brought together 230 stage two and three architecture students from University College Dublin (UCD) and

Architecture at Queen’s

Queens University Belfast (QUB). The students worked in mixed teams of up to six people, half from UCD and half from QUB. The cohorts, and many of the individuals, had not worked together previously, and yet, collaborated effectively. They were guided through an explicitly codified design process which facilitating associated time bound design exercises, used an online whiteboard, Miro, to graphically communicate the process. The design activities were interspersed with inspiring presentations by Prof.

Nasrin Seraji (UCD) and Yvonne Farrell, co-founder of Grafton Architects.

The students created detailed, delightful, and informed design propositions for a covered public space where vaccines could be administered in the short term and where public life could thrive in the long term. The winning entry is depicted here in this publication.

The event proved a transformative catalyst for the students and staff involved, taking us out of working in reaction to being online and into leveraging its potentials to creative ends.

45.

1.

1. Yvonne Farrell of Grafton Architects introducing the QUB UCD Design Charette

46.

BSc Architecture - QUB UCD Collaborative Design Charette

2. Winning Entry of Ellen McKeag & xxxxx

Architecture at Queen’s

47.

ARCHITECTURE & MONTAGE STAGE 2 & 3 Students

Staff

Stage 2; Conor Boyle, Isabella Innocenzi, Alexandra Judd, Lauren Laverty, Lee Leonard, Xingyu Liu, Imogen Miller, Cameron Morris, Matthew Newman, Sara Sokolowska-Katzer, Kyaw Swar, Sarah Teggart, Hasan Uddin & Yanwen Zhu.

Dr. Niek Turner, Clare Mulholland, Prof. Michael McGarry & Catherine Blaney.

With thanks to Susie Brown & Petrina Tierney.

Stage 3; Natalie Anderson, Kayla Enos, Wilfred Leung, Eve McFarlane, Suman Miah, Meabh Minnis, Luke O’Brien, Anna Shaw & Deirdre Yoong.

1.

1. Kayla Enos

48.

BSc Architecture - Vertical Studio - Architecture & Montage

In the early part of the 20th century the formation of the Soviet Union sought to bring about a huge societal change by constructing a new nation based not on capitalism but a joint endeavour in which each individual would share collectively in the creation of a new society. A century later faced with the huge societal changes we have encountered in 2020 in this project, students were asked to take inspiration from this huge societal shift and think at a macro scale about a new collective proposal in the city that might bring people together in a new way since many months apart.

Art and design played a central role in the Soviet re-envisioning of society and this was paired with industrial processes and manufacturing to create dynamic and innovative outputs. Consequently, all strands of life were reimagined, including; film, clothing, posters, photography, sculpture and architecture. Montage played a significant role in all these outputs in how it reconfigured traditional modes of representation and thinking, to create unique juxtapositions and new approaches to all

Architecture at Queen’s

these subjects. Similarly, the studio used montage as a method for gathering and then reconfiguring research and design in such a way as to create unique juxtapositions and rethink approaches to architecture.

In this studio then adopting Montage as a method of exploring site and design students worked in the context of the Lagan to understand how projects might occupy a space along this river to create new opportunities for collective endeavours that bring people out of their surrounding homes and encourages them to gather as a community. This river which cuts through Belfast offers several interesting contrasts in that it connects the urban with the rural, it has facilitated both industrial and leisure activities and acts as an environment for wildlife and key piece of infrastructure in the city. Set within this landscape the students projects addressed the above themes to construct a new architecture which like that of the soviets responds to both macro and micro societal concerns. Climate change will play a key role in this in how a range of approaches to architecture can enable new shared models of energy.

49.

1.

1.

1. Sarah Teggert

50.

BSc Architecture - Vertical Studio - Architecture & Montage

2.

2.

2. Sara Sokolowska-Katzer

Architecture at Queen’s

51.

1.

2.

1.

2.

1. Isabella Innocenzi 2. Matthew Newman

52.

BSc Architecture - Vertical Studio - Architecture & Montage

2.

3.

3.

3.

3.

3.

3. Méabh Minnis

Architecture at Queen’s

53.

1.

1.

1.

1. Natalie Anderson

54.

BSc Architecture - Vertical Studio - Architecture & Montage

2.

3.

3.

2. Anna Shaw 3. Eve McFarlane

Architecture at Queen’s

55.

1.

1.

1. Kayla Enos

56.

BSc Architecture - Vertical Studio - Architecture & Montage

2.

2.

1.

1.

2. Luke O’Brien

Architecture at Queen’s

57.

CINEARCH STAGE 2 & 3 Students

Staff

Stage 2; Louis Cunningham, Bartlomiej Ziobrowski, Shreya Karnani, Zoé Mangan, Moe Pa Pa Tun, Radostina Kostova, Holly Boal, Orla Corr, Joel McNeill, Sean De San Jose, Niamh Gill-Ryan, Haridhya Ragav Rajsundar & Jiaxin He.

Dr. Gul Kacmaz Erk, Patrick Wheeler & Jennifer Harper.

With thanks to Dr. Hamid Khalil

Stage 3; Arjun Bharj, Karin Wiman, Caitlin Lavery, Hannah Doran, Joshua Harper, Katie Faulkner, Kubra Sevinc Cakmak & Anson Wong.

1.

1. Karin Wiman

58.

BSc Architecture - Vertical Studio - CineArch

In the last decade, Northern Ireland has been serving global film industries extensively in terms of film locations and settings with its natural and built environment. The significance of Belfast in terms of film production and film studies has increased considerably after the renovation of the ‘paint hall of ships’ in the Titanic Quarter as film studios for NI Screen. To support the city more with this promising new industry, which in the future may be comparable to the linen and shipping industries of the nineteenth and twentieth centuries, the main focus of CineArch studio had been cinematic architecture.

Architects are familiar with designing spaces and buildings using static architectural media such as drawings and physical models. In this studio, second- and third-year undergraduate students were encouraged to incorporate new media technologies to their repertoire, especially film. They used filmmaking and film techniques at various stages of the design process including site analysis, design development and presentation. Moving imagery had an innovative influence on how they designed a building and what they prioritised in their design decisions. As Canadian

Architecture at Queen’s

philosopher Marshall McLuhan claims, “the medium is the message.”

In Cinematic Architecture Studio, students designed a compact building for performing arts, searching for the invisible qualities of architecture, using skills developed via filmmaking and film analysis (storyboard, cinematic plan, moodboard, montage, abstraction, spatial layering and animation) alongside conventional representation techniques. The building aimed to provide a space for creating, acting, performing, rehearsing and staging for the youth. It was also a space for gathering, interacting, sharing, watching, listening and remembering.

In this studio, students explored atmospheric and experiential characteristics of space as well as the power of materiality, light and structure. They designed a sustainable public building for young people under the age of 25, particularly adolescents, but also for all people of all ages, sizes and abilities including “disadvantaged, marginalised and excluded communities” such as lower income groups, refugees, asylum seekers and people with disabilities.

59.

1.

1. Arjun Bharj

60.

BSc Architecture - Vertical Studio - CineArch

2.

2.

2.

2. CineArch Group Research

Architecture at Queen’s

61.

1.

2.

1.

3.

1. Katie Faulkner 2. Louis Cunnigham 3. Sean Paolo De San Jose

62.

BSc Architecture - Vertical Studio - CineArch

4.

4.

4.

4.

4. Arjun Bharj

Architecture at Queen’s

63.

1.

1.

1.

1.

1. Karin Wiman

64.

BSc Architecture - Vertical Studio - CineArch

2.

3.

3.

3.

3.

4.

2. Anson Wong 3. Hannah Doran 4. Zo Mangan

Architecture at Queen’s

65.

1.

1.

1.

1.

1.

1.

1. Niamh Gill-Ryan

66.

BSc Architecture - Vertical Studio - CineArch

2.

2.

2.

2. Órla Ní Chorra

Architecture at Queen’s

67.

CIVIC STAGE : TIME OUT OF TIME STAGE 2 & 3 Students

Staff

Stage 2; Claudia Tatiana Cabrera Antezana, Amy Cross, Haojie Kong, Kate Low, Gerard MacAllister, Ryan McCracken, Alice Poole, Minhyeok Seo, Xue Cong Tee, William Warnock, Ivy Wijaya, Madeleine Weymouth & Natalie Yee Kiat Cha.

Dr. Rachel O’Grady , Fearghal Murray & David Magennis.

With thanks to

Stage 3; Maria Elena Calingasan Cariaga, Zhen Cheah, Hoay Qing Chow, Connor Curley, Hollie Hamilton, Pey Kwang, Ellen McKeag & Ayshwarya Madhu.

Gillian Brady, St. John Walsh, Catherine Blaney, Prof. Michael McGarry, Tarla MacGabhann & Dr. Colm Moore

1.

1. Ryan McCracken

68.

BSc Architecture - Vertical Studio - Civic Stage

This studio views the city as theatre, and architecture as public set design. We draw the city as a collection of performances: the material settings anticipating, inspiring and transforming the way people interact.

throughout history as a moment of reinvention and clarification of cultural values: a pause or moment of reflection as explored by Alessandro Falassi’s collection of essays entitled Time out of Time.

This year, Civic Stage interrogated the meaning and value of “temporary” architecture in cities.

“Temporary” architecture is criticised by many for being complicit in the gentrification of urban areas: in the first research project, students were asked to interrogate four provocative statements about temporary architecture and to take a position on how to avoid these traps. Valuing drawing as a key method in architectural research, students were asked to explore one human scale and one urban scale drawing of a precedent, developed over several weeks.

At the start of the spring pandemic lockdown, tutors Rachel and Fearghal joined forces with their practices OGU Architects and MMAS Architects to collaborate on creating better exterior architecture for people who could no longer use the city’s interior rooms. Many of the projects called for ‘temporary’ architecture, but we wanted the students to question and challenge this concept, given that the school’s declaration of the Climate Emergency requires all students to consider time as much as space in their projects.

It can be argued that everything is “temporary”, so all architecture should be designed with a thought as to how it might be taken apart, and where the materials can go next. Conversely, if something is popular, it may stay in place longer than expected and that needs to be thought about too. But what our practices have found is that if architecture is perceived as a short-term installation, it has a special power: it becomes an event, a destination, and it invites collaboration. Pop-up’ architecture has been used

Architecture at Queen’s

2021 was a unique moment in time when many retailers shut down and the city lay dormant and waiting for its next life. For their design project, students chose one festival in either Belfast or DerryLondonderry and were asked to propose a rapidly constructed and demountable festival architecture to reset a derelict inner city space. Each student chose to think about time differently: some proposals might stay in place for a few days, some are perceived as the first phase of a longer-lasting building and others float down the river, shape-shifting as they go. The result is a collection of glimpses of a future city that is responsive, witty and open to otherness.

69.

1.

2.

2.

1. Maria Elena Calingasan Cariaga 2. Hollie Hamilton

70.

BSc Architecture - Vertical Studio - Civic Stage

3.

4.

3. Ellen McKeag 4. Gerard MacAllister

Architecture at Queen’s

71.

1.

2.

3.

1. Holly Hamilton 2. Ayshwarya Madhu 3. Claudia Cabrera

72.

BSc Architecture - Vertical Studio - Civic Stage

4.

4.

5.

4. Hoay Qing Chow 5. Maria Elena Calingasan Cariaga

Architecture at Queen’s

73.

Week 11

1.

1.

2.

1.

2.

1. Gerard MacAllister 2. Kate Low

74.

BSc Architecture - Vertical Studio - Civic Stage

3.

3.

3.

3. Ellen McKeag

Architecture at Queen’s

75.

1.

1.

1. Ryan McCracken

76.

BSc Architecture - Vertical Studio - Civic Stage

WEEK 11

THE CONSTRUCTION WEEK 11

2.

PROCESS PROCESS

2.

3.

2. Alice Poole 3. William Warnock

Architecture at Queen’s

77.

HOLDING PATTERN STAGE 2 & 3 Students

Staff

Stage 2; Emilia Mikaela Arroyo Olmedo, Adam Crawford, Egle Dinapaite, Francesca Homard, Jiyoung Ko, Man Lok Matthew Lui, Dylan Mc Callion, Daniel McCambridge, Henry McCracken, Yamon Phu Kyaw, Erin Simpson & Han Ye.

Dr. Nuala Flood, Laurence Lord, Guido Vericat & Aoife McGee.

Stage 3; Grace Carney, Zoey Chan, Annie Hart, Sameera Kaddoura, Peter Lawson, Nathan McCreery & Brandon Tsz Fung.

With thanks to Jeffrey Bolhuis, Fiona Hughes Rachel Delargy & Dr. Colm Moore.

1.

1. Holding Pattern Research Booklet

78.

BSc Architecture - Vertical Studio - Holding Pattern

What is the future of architecture schools as physical artefacts? How can they contribute to the sustainable revitalisation of places? How can they help us learn?

And can their spatial attributes, form and fabrication details help promote circular economy thinking?

Holding Pattern is a metaphor for the design approach taken in this studio. We begin by observing the design challenge from multiple angles, building up a broad knowledge base, before identifying a design opportunity and landing a project proposition.

Therefore, in the first three weeks of the project, the students took a deep dive into thematic research.

They began with an examination of and reflection on what it means to learn. Each student reviewed an educational theory or philosophy. As a way of expanding the collective understanding of what architectural education could be, each student researched a precedent radical architectural pedagogy.

The students were also challenged to think about how their architecture school might promote the circular economy and, therefore, they reviewed a number of recent publications on this topic. They interrogated whether the contemporary architecture school typology offers the most appropriate physical setting for learning how to be a nimble spatial practitioner.

Working together, they critiqued several precedent architecture schools. As a result of examining these buildings through the construction of exploded axonometric drawings, they questioned what the critical spatial attributes of an architecture school are.

Holding Pattern is also a metaphor for the students’ projects as built propositions. They were invited to view them as a temporary archive of materials

Architecture at Queen’s

and as a mechanism for the interim storage of valuable resources to be used by the next generation.

Therefore, all materials and construction techniques needed to be carefully selected to address durability, flexibility, disassembly and sustainability.

The question of whether their building could be disassembled, removed, and redeployed elsewhere was also addressed. By this means, they were challenged to think about the long-term future of the site and to consider the regenerative capacity of their proposal as part of a broader circular economy.

The architecture school was to be created in Newry, County Down on a complex urban site in the historic core, that deals with street, public realm, infill and water frontage. Being located on a floodplain, in 100 years, the site will potentially be submerged, so they needed to design now and, also, for how we might confront that potential future scenario. The project was carried during the national lockdown of 2021 and, as a result of strict travel restrictions, the students went on a virtual expedition to the site. They were invited to survey it as an urban mine and a bank of physical, cultural and historical resources. This research is encapsulated in a series of maps and drawings titled Site as Material Treasure, Site as Contemporary Cultural Treasure, Site as Historic Treasure and Site as Future Treasure.

After digesting this research, the students then formulated a position on what a future orientated architecture school, located in Newry, should be.

These position statements were encapsulated in collages and formed the basis of their individual design projects, which they developed in the last nine weeks of the studio.

79.

1.

1. Learning Theory Research

80.

BSc Architecture - Vertical Studio - Holding Pattern

2.

2. Radical Pedagogy Research

Architecture at Queen’s

81.

1.

1.

1.

1. Grace Carney

82.

BSc Architecture - Vertical Studio - Holding Pattern

2.

2.

2. Egle Dinapaite

Architecture at Queen’s

83.

1.

2.

1. Sameera Kaddoura 2. Henry McCracken

84.

BSc Architecture - Vertical Studio - Holding Pattern

3.

3.

4.

5.

5.

3. Peter Lawson 4. Abigail Kyle 5. Yamon Phu Kyaw

Architecture at Queen’s

85.

1.

1.

1.

1. Annie Hart

86.

BSc Architecture - Vertical Studio - Holding Pattern

2.

2.

2. Zoey Chan

Architecture at Queen’s

87.

INSIDE OUT STAGE 2 & 3 Students

Staff

Stage 2; Anthony Armstrong, Cillian Cassidy, Daniel Cassidy, Caris Coulter, Siun Crumley, Robbie Crymble, Niamh Douglas, Lauren Gonsalves, Malgorzata Migut, Luke McMahon, Seamus O’Leary, Dearbhail O’Neill de Bruin, Angela Sagayno & James Wilson.

Rachel Delargy, Tarla MacGabhann & Jane Larmour.

With thanks to Alun Jones, Dr. Sarah Lappin, Laurence Lord & Dr. Amber Roberts.

Stage 3; Fahad Munaf Sadoon Al-Omrani, Aisha Buzeid, Chloe Cassidy, Arianna Clements, Jessica Forsythe, Mason Ket Yang Leng, Rachel Murphy & Alexis Payot.

1.

1. Malgorzata Migut

88.

BSc Architecture - Vertical Studio - Inside Out

The studio continues to explore the contribution architecture can make to an individual’s well being and mental health, due to the trauma caused by the troubles and conflict in Northern Ireland. This year we reflected on how building, garden and landscape can be fused to make spaces for healing and contemplation within the Cathedral Gardens in Armagh. Sited at the edge of St Patrick’s Church of Ireland Cathedral and with a view of the rolling drumlins, the setting offered the opportunity to interact with the landscape both directly and indirectly, in order to help reconnect those suffering from fragile mental health conditions with their surroundings.

In parallel the Inside Out unit also investigated 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.

By investigating such interfaces, we sought to find spatial opportunities that would provide restorative and healing experiences.

Research, consisted of each student studying, drawing and building sectional models of specifically selected precedent buildings as a means of exploring

Architecture at Queen’s

how the interior and exterior were defined in their precedents. These studies, in turn, were tested on the site and provided an initial topic of discussion for each project and led to proposals which considered the integration of building and garden by forming both new landscapes and establishing connections with existing ones.

Due to the challenging levels of the site, projects were developed in section and thus the roofs became an important element in many projects, specifically how the project related to the ever-present adjacent Cathedral, and the different Cathedral garden levels. The surrounding drumlins also contributed to generating specific roof designs sometimes extending beyond envelope or spanning over individual building thus blurring the threshold between inside out. Courtyards, cloisters, gardens and roofs are some of the resultant themes and typologies that have emerged.

“Designing from the outside in, as well as the inside out, creates necessary tensions, which help make architecture. Since the inside is different from the outside, the wall - the point of change - becomes an architectural event.”

Robert Venturi (1977) Complexity and Contradiction in Architecture, p.86. The Museum of Modern Art, New York.

89.

2.

3.

1.

5.

4.

8.

6.

9.

7.

10.

1. Chloe Cassidy - John Pawson - Abbey of Our Lady of Nový Dvůr 2. Mason Ket Yang Leng - Marie-José Van Hee Architecten - House in Zuidzande 3. Alexis Payot - James Stirling, Michael Wilford & Thomas Muirhead - Venice Book Pavilion 4. Daniel Cassidy - Alvar Aalto - Studio Aalto 5. Jessica Forsythe - Pezo von Ellrichshausen - Casa Poli 6. Malgorzata Migut - Dom Hans Van Der Laan - Saint Benedict Abbey 7. Niamh Douglas - Jørn Utzon - Bagsværd Church 8. Dearbhail O’Neill de Bruin - Fernando Távora - Quinta da Conceicao Tennis Pavilion 9. Cillian Cassidy - Caruso St. John - Brick House 10. Aisha Buzeid - Erik Gunnar Asplund - Woodland Chapel, Woodland Cemetery

90.

BSc Architecture - Vertical Studio - Inside Out

12.

11.

13.

14.

15.

16.

17.

18.

19.

20.

11. Caris Coulter - Alvar Aalto - Muuratsalo Experimental House 12. Lauren Gonsalves - Johan Celsing - Crematorium, Stockholm 13. Robbie Crymble - Alvaro Siza - Piscina Quinta da Conceição 14. Anthony Armstrong - Alvar Aalto - Villa Mairea 15. Rachel Murphy - Alvar Aalto - Maison Louis Carré 16. Angela Sagnayno - Heikki & Kaija Siren - Otaniemi Chapel 17. Fahad Munaf Sadoon Al-Omrani - Fernando Távora - Casa De Ofir 18. Siun Crumley - Sigurd Lewerentz - Chapel of Resurrection, Woodland Cemetery 19. Seamius O’Leary - Francesca Torza - Z33 house for contemporary art, design & architecture 20. Arianna Clements - Sverre Fehn - Aukrust Center

Architecture at Queen’s

91.

1.

1.

1.

1.

1. Alexis Payot

92.

BSc Architecture - Vertical Studio - Inside Out

2.

3.

2. Daniel Cassidy 3. Cillian Cassidy

Architecture at Queen’s

93.

1.

1.

2.

1.

2.

1. Chloe Cassidy 2. Jessica Forsythe

94.

BSc Architecture - Vertical Studio - Inside Out

3.

3.

3.

3.

3.

3.

3. Seamus O’Leary

Architecture at Queen’s

95.

1.

1.

1.

1.

1. Rachel Murphy

96.

BSc Architecture - Vertical Studio - Inside Out

2.

2.

3.

2. Malgorzata Migut 3. Niamh Douglas

Architecture at Queen’s

97.

TECHNOLOGY & ENVIRONMENT BSc Stage 1, 2 & 3 Module Co-Ordinators

Staff

Dr. Nuala Flood, Dr. Rachel O’Grady & Dr. Jasna Mariotti

Jenny Cromie, Susie Carson, Rachel Delargy, Rebecca-Jane McConnell, Prof. Michael McGarry, Aoife McGee, Jane Larmour, Catherine Blaney, Pat Wheeler, Fearghal Murray, David Magennis & Guido Vericat.

With thanks to Dr. Guiseppina Amato

1.

1. Ellen McKeag - Stage 3

98.

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 supports and informs students’ individual design projects and enriches the themes that students are studying at that stage.

Technology and environment modules throughout the school are delivered in seven principle areas of knowledge. These include (1) materials, (2) structure & envelope, (3) assembly, (4) realisation, (5) climate and operational energy, (6) comfort and internal climate and (7) lifecycle and futureproofing. Each theme is explored through lectures, workshops and assignments in increasing depth and complexity year on year.

Stage 2 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 1, 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 an understanding of the principles of technology and environment both within, and as part of architectural design, the Stage 2 Technology and Environment content closely aligns with the concomitant Architectural Design and Communication module.

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,

Architecture at Queen’s

internal environment, occupant comfort and sustainability. In the first semester, this involved interrogating a precedent before each student appraised their housing design against current Building Regulations whilst in the second semester, students tested environmental strategies for their vertical studio design, alongside daylight and acoustic calculations for their key internal environment.

Therefore, 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 3, students collaborate with Queen’s civil engineering students and staff to learn about the structural challenges of adapting existing buildings for re-use. This starts with a group project analysing This starts with a group project analysing exemplar re-use projects, supported by lectures by staff from architecture and from engineering. Students are asked to design an intervention within the context of an existing building and to develop structural diagrams and construction drawings to support their design proposal.

In the second semester of Stage 3, students focus on the relationship between building envelope and interior environment. The first project is a group project analysing precedent projects associated with their particular vertical design studio. In the second project they work with a dedicated vertical studio technology tutor to develop the envelop design of their individual design project. They are encourage 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.

99.

1.

1.

2.

1. Charlotte Heinrich- Stage 1 2. Emily Hayes - Stage 1

100.

BSc Architecture - Technology & Environment

3.

4.

5.

6.

3. Emily Hayes - Stage 1 4. Hyeonjin Kim - Stage 1 5. Rose Magee - Stage 1 6. Matthew Lowry- Stage 1

Architecture at Queen’s

101.

1.

2.

2.

1. Daniel Cassidy- Stage 2 2. Sara Sokolowska-Katzer- Stage 2

102.

BSc Architecture - Technology & Environment

3.

3.

3.

3. Man Lok Matthew Lui - Stage 2

Architecture at Queen’s

103.

1.

2.

3.

1. Ellen McKeag - Stage 3 2. Grace Carney - Stage 3 3. Zoey Chan - Stage 3

104.

BSc Architecture - Technology & Environment

4.

5.

4. Kayla Enos - Stage 3 5. Rachel Murphy - Stage 3

Architecture at Queen’s

105.

HISTORY & THEORY BSc Module Co-Ordinators

With thanks to

History and Theory 1 – Dr Sarah Lappin History and Theory 2 – Dr Gul Kacmaz Erk History and Theory 3 – Dr Mark Mukherjee Campbell

Merav Amir (QUB - Geography), Irene Bittles (QUB - Library), Dominic Bryan (QUB - Anthropology), Emma Campbell (QUB - Architecture), Laura Coucill (QUB - Architecture), Sean Cullen (QUB - Architecture) James Davis (QUB - History), Neil Galway (QUB Planning) Tom Jefferies (QUB - Architecture), Greg Keeffe (QUB - Architecture), Laurence Lord (QUB - Architecture), Jasna Mariotti (QUB - Architecture), Rebecca Jane McConnell (QUB - Architecture), Ciaran O’Neill (QUB - Learning Development Services), Michael Pierse (QUB English) & Niek Turner (QUB - Architecture).

1.

1. Ellen McKeag - Gender and Fear in Public Space

106.

BSc Architecture - History & Theory

There are many important reasons for studying the wide variety of Histories and Theories of Architecture. 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.

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 illustrated essays, posters, short films and pecha cuchastyle presentations. Critical and reflective practice are instrumental parts of this area.

History and Theory of Architecture 1 is taught as a series of lectures and discussion sessions 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 examine reasons why theory is important for designers. We also investigate the

Architecture at Queen’s

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 first-year curriculum, History and Theory of Architecture 2 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 historical and theoretical support for the first-semester design studio project. In the second semester, the module examines the histories and theories of architectural representation.

Topics covered range from conventional communication methods such as drawing, model making and photography to current and emerging media including filmmaking, computer modelling and VR/AR. The Writing Portfolio is improved in Stage II. History and Theory of Architecture 3 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. The portfolio is completed in Stage III, allowing BSc students to graduate with an academic Writing Portfolio alongside their Design Portfolio.

107.

1.

2.

1. Ivy Wijaya 2. Lauren Gonsalves

108.

BSc Architecture - History & Theory

In 1949, Alvar Aalto was tasked to design a dormitory building for the MIT senior students with modernism style. As a result, the Baker House was designed and built in the fall of 1949. The finished structure has stylish wave form and simple brick façade wall contradicting the complex interior spaces to not only encourage social but also intellectual interaction (Klose, 2007, p.95). According to ‘Space, Time and Architecture’ written by renowned architect critique Sigfried Giedion, the curving exterior structure leads to variety of room shape (Bentel, 2012, p. 239). In addition, Scully commented that the free-form format curvature wall, and interchangeable rough and smooth surfaces suits also provides energetic looks to the overall building (Bentel, 2012, p. 242-3). Giedion and other writers would perceive Aalto’s work as a manifest to the postmodernism with strong contradicting elements, such as curvature front and the rectangular back, highlighting the ideology of relative truth. In ‘Complexity and Contradiction’, Venturi provides further inside that Aalto provides new ideology of postmodernism contradicting the relative popular ideology of modernism that encourages simplicity of structure (Bentel, 2012, p. 243). Alvar Aalto’s novel design approach is the beginning of the whole ideology of postmodernism.

MI T

DN DN

GROUND FLOOR PLAN (1: 100)

DN UP DN

= PUBLIC

DN

DN

DN UP

T

= PRIVATE

BAKER HOUSE DORMITORY

P R E C E D E N T

DN

DN DN

DN

DN

UP

Alto’s main purpose for the curvature front facing south is to avoid the busy, narrow highway on Memorial Drive that ran parallel with the Charles River (Weston, 2004). The interior of Baker House is composed of different design for different dormitory rooms including single, double, and triple rooms all in different shapes (Klose, 2007, p. 98).

Despite the intricate curving shape, Alto does not squander building material on aesthetic needs. The baker house utilized every corner and weird shape offer in the design.

Aalto believes strongly that fluidity is key to a well-designed building (Klose, 2007, p. 98). The stairs hanging by the north walls is the example for fluid structure with main function of allowing students to travel across the six floors (Klose, 2007, p. 99).

Students living in the building commented that the stairs are “social part of the building”; students would often walk past familiar faces or meet their friends on the stairwell (The Slow Space Movement, 2017).

SOUT

OVERALL FORM OF BUILDING FACING THE RIVER

PERSONS PERSPECTIVE OF BUILDING

INTERIOR OF THE DINING HALL

The curvilinear shape of the building is described as “organic” since there are multiple interior spaces that promotes different social spaces around the elongated unit of private spaces (The Slow Space Movement, 2017). Among all the room’s design, Alto considered the dining room to be the heart of all spaces spreading throughout six floors (Klose, 2007, p. 99). The dining room is the centre between the two wings of the buildings served as the hub for the exchange in both casual and intellectual ideas (Klose, 2007, p. 99). On the ground floor, the dining room offers a view of the river from two standing side of the curve. On the first floor, the dining room have a balcony extended from the main lounge offering opportunity for some fresh airs. The dining room is illuminated with numerous round skylights to provide a downlight by day and artificial lighting by night (The Tech, 1947, p. 2). Dean Wurster, another renowned architect at that time, complimented the use of porthole-like structures on the roof that brightens the dining hall as if the hall is afloat (The Tech, 1949, p. 1). On top of the lights entering from the pot, low growing ivy will cover the flat roof to provide greenery. In overall, the dining hall is a unique piece within the Baker House. Alto meticulously design the lighting to provide a bright atmosphere and hence encourage social interactions among the dormitory residents. In all the personal interviews with residents in the Baker House, the dining room has indisputable reputation for offering true sense of community (The Slow Space Movement, 2017).

SECTIONAL PERSPECTIVE OF BAKER HOUSE

ZOOMED IN OF SECTIONAL PERSPECTIVE

In conclusion, the Baker house is a unique building that utilizes the curvature front for riverbank view. The curve is such a paragon and founder for the postmodernism ideology shining light towards relativism challenging the traditional absolute truth theory of modernism. Within the building, the dining room is the most extraordinary piece with special attention to the lightings highlighting the use of architecture design in generating lively atmosphere.

& D E S I G N S Y N T H E S I S

4.

3D VIRTUAL MODEL

3.

S T U D Y

5.

3. Lauren Gonsalves - Alvar Aalto - Experimental House 4. Natalie Cha - Alvar Aalto - MIT Baker House Dormitory 5. Sean De San Jose - Pierre Koenig - Case Study House 22

Architecture at Queen’s

109.

1.

2.

Planning Class

Remnants of Dualism within Colonial Planning : Impression of ‘a city within a city’ in capitalist Mumbai

Ayshwarya Madhu Planning 40267865

and Place: The impact of urban growth on local communites and their heritage

3.

1. Ayshwarya Madhu - Remnants of Dualism within Colonial Planning - Impression of City within a City in Capitalist Mumbai 2. Eve McFarlane - Planning and Place - The Impact of Urban Growth on Local Cummunities and their Heritage 3. Méabh Minnis - Post-War housing solutions - A New Urban Vision

110.

BSc Architecture - History & Theory

The Public Toilet: A tool for investigating gender segregation in Britain.

1841: RESTRAINED BY LACK OF FACILITIES 2020: RESTRAINED BY LACK OF FACILITIES

4.

Material Memorial: Monuments, the Holocaust, and Collective Memory

5.

6.

How can the Streets of Post-Connict Cities Provide a Unique Opportunity for Architectural Development?

4. Kayla Enos - The Public Toilet - A Tool for Investigating Gender Segregation in Britian 5. Connor Curley - Material Memorial - Monuments, The Holocaust and Collective Memory 6. Luke O’Brien - How can the Streets of Post-Conflict Cities Provide a Unique Opportunity for Architectural Development

Architecture at Queen’s

111.

SKILLS BAZAARS

Co-Ordinator Dr. Chantelle Niblock Guest Seminars Jim Bright - Photogrammetry Aidan Monaghan - Still Film Photography Tom Bennett (an architect at Studio Bark, climate activist with XR and member of ACAN (Architects Climate Action Network) - Sustainable Design and Grasshopper Conor McCafferty - Film Making: Documenting the Process Catherine Blaney - Collage and Montage (Fine Art) Nick Thom (McGonigle McGrath) - Paper Model Making Benji Connell (Concrete Clouds) - Architectural Illustration Jason Crawford (alumni) - Portfolio Design Aisling Madden (alumni) - Thesis Design Jonny Yau (alumni) - Thesis Design Adam Doherty (alumni) - Making Models at Home Student Speakers (Digitising the Design Process) Katie Jackson, Anna Crew, Bridget Bale, John Moran, Rachel Murphy, Kayla Enos, Arjun Bhar & Grace Carney.

PhD Student-led Seminars Chris Hamill - Sketchfab Workshop Jessica Scott - Adobe Illustrator Rebecca-Jayne McConnell - Model Photography Emma Campbell - Working from Home

112.

The Skills Bazaars aimed to share and celebrate architectural skills helping to bring PhD, MArch, and BArch together within an informal context. A range of short talks, seminars and workshops were held over five online events this year.

Speakers included guests from across disciplines, exploring photography, film making, and photogrammetry, along with architects in practice who explored sustainable design through parametric modelling and watercolour paper model making.

Alumni students shared their experiences by reflecting on their thesis project, portfolio design, and dissertation design from last year. Our current cohort of students contributed to the Skills Bazaars by providing a range of practical workshops, including tips of how to digitise the design process, interactive Sketchfab modelling, digital illustrations, and best practise on working from home.

Skills Bazaars 2020/21 - Digitising the Design Process (2nd Oct 2020) - Making Models: physical and digital (30th Oct 2020) Architectural Illustration and -Sustainable Design through Parametric Modelling (20th Nov 2020) - Paper Models, Dissertation Design, Photogrammetry, and Film Making (26th Feb 2021) - Thesis Design, Portfolio Design. Montage and Collage, and Photography & Architecture (12th March 2021)

Skills Bazaars

1.

2.

1. Sample of events during Skills Bazaar 2. Student created Miro Board to share Architectural Skills Tips

Architecture at Queen’s

113.

QUB - UCD RADIO SHOWS

Co-Ordinators Dr. Sarah Lappin & Prof. Hugh Campbell Guest Speakers: Prof. Gary Boyd, Dr. Peter Cody, Dr. Philip Crowe, Prof. Greg Keefe, Prof. Tom Jefferies, Laurence Lord, Dr Sarah Lappin, Dr. Samantha Martin-McAuliffe, Prof. Michael McGarry, Dr. Kieran McGonigle, Orla Murphy, Dr. Rachel O’Grady, Prof. Finola O’Kane Crimmins, Dr. Ellen Rowley & Prof. Nasrine Seraji.

In September 2020, QUB began a series of exchanges with University College Dublin as means to explore how we might work together in both teaching and research alliances, aware of our unique position in both the UK and EU political and economic frameworks. After years-long informal collaborations, we spent 2020-2021 together for several events, including a series of online “radio shows” in which we shared our Master’s of Architecture studios as well as our research interests – everything from “Future Urbanism” to “Expanding Humanities.”

We look forward to a future of collaboration.

Architecture at Queen’s & UCD School of Architecture present

QUB/UCD RADIO SHOWS

PhD BY RESEARCH & DESIGN

Wednesday 28.10.20 14-15 Online

Upcoming talks: 11.11.20 - Future Cities 25.11.20 - Climate Action 09 .12.20 - Expanding Humanities

114.

Michael McGarry (QUB) Peter Cody (UCD) Kieran McGonigle (QUB) & Rachel O’Grady (QUB)

QUB - UCD Radio Shows

Architecture at Queen’s & UCD School of Architecture present

QUB/UCD RADIO SHOWS

FREE MARKET ONGOING Wednesday 21.10.20 13-14 Online

Upcoming talks: 28.10.20 - PhD by Practice and Design 11.11.20 - Future Cities 25.11.20 - Climate Action 09 .12.20 - Expanding Humanities

Orla Murphy (UCD) & Laurence Lord (QUB)

Architecture at Queen’s

115.

PhD RESEARCH

REPACKING THE SUPERMARKET: FOOD RETAIL EVOLUTION & FUTURES Student Emma Campbell Supervisor Prof. Greg Keeffe Prof. Gary Boyd With thanks to DfE, through which this Ph.D. was funded. The William and Betty MacQuitty Travel Scholarship board for providing the financial assistance for a research trip to New York. My supervisors; Greg Keeffe and Gary Boyd as well as my colleague Sean Cullen and the wider architectural department at QUB. Finally, a big thank you to my family and friends for their unending support.

Despite receiving little attention in the field of architecture supermarkets represent a key shopping space in UK cities and are a main interface between consumers and food supply chains. Supermarkets are contradictory by nature. Spatially they are generic, designed to create a convenient shopping experience, but beyond the consumer-facing space hides a complex, often invisible, food supply system. The visual disconnect between demand and supply in this shopping space hides a myriad of problems too.

On the supply side, food continues to become more

116.

global, moving further than before to sustain cheap prices, a range of choice and all-year seasonality on the shelves. This has resulted in a precarious, justin-time supply system using and wasting extensive resources in the process. On the demand side, consumers have become increasingly detached from systems of food production leading to mass malnutrition and over-consumption. These issues are only expected to become worse as they mix with the challenges of a global pandemic, Brexit and climate change. While the future of food shopping faces significant challenges, the rapidly changing face of society in a time of Covid-19 also presents opportunities; to work from home, to move less, to slow down. These lifestyle changes will no doubt influence how food retail develops its operations.

However, incrementally adapting the supermarket interior to reflect changing consumption and production patterns is not enough. It is now time to apply some big picture thinking to address these big picture, built-in problems.

This thesis does the hard thinking of behalf of supermarkets to navigate an increasingly challenging and blurry future. The document is structured to address three research questions: [1] How can architects analyse and communicate the emergence and development of supermarket space? [2] How can architects analyse and communicate the invisible, complex food systems operating beyond the supermarket shop floor? [3] How can architects imagine and communicate potential supermarket futures?

Four outputs are generated through a research-bydesign methodology and the flexible medium of drawing. The first two outputs look to the past and

PhD Research

present and the second two look to the future: [1] A taxonomy of supermarket development: 1930’s2020. [2] Three thematic studies contextualising supermarket space within wider food systems.

[3] Three propositional future supermarkets. [4] A speculative future supermarket taxonomy: 2020-. The results of this study indicate that supermarket space is secondary to the processes and technologies managing food logistics. As highly serviced spaces, supermarkets are designed primarily to accelerate the flow of food and people through them. Supermarkets are not just buildings - they are infrastructural systems; and the shop floor is merely the face of that system. Today, the generic nature of supermarket space masks a much more complex, hidden system of production and consumption. The thesis suggests that future supermarkets might start by making those systems much more visible, participatory, and performative for consumers.

The methodologies developed across the threeyear research period are now being applied by the author to the Innovate-UK funded Ideal Home project.

Currently, a multi-disciplinary academic team is working closely with Moy Park, the UK’s largest poultry integrator, to design a high-welfare, net-zero broiler house for the future. It is also hoped that the visual, design-led methodology developed in this thesis; which tests and develops scenarios, roadmaps, timelines, diagrams and collage techniques, might be helpful for other researchers within the field of architecture and urbanism.

Awards: William and Betty MacQuitty Travel Scholarship (2018) ‘New York’s Urban Agriculture’

Architecture at Queen’s

Conferences: • Campbell, E and Keeffe, G., 2020. Circular Supermarket. In: The International Symposium of Circular Systems for the Built Environment. (online) Technical University, Eindhoven.

• Campbell, E and Keeffe, G., 2019. Mapping bacon production and consumption. In: Qatar and The Moveable Nexus: Design-led urban food, water, and energy management innovation in new boundary conditions of change. Doha.

• Campbell, E and Keeffe, G., 2019. Sustainable supermarket staples: methods to visually unpack, spatialise and reimagine complex, global food chains. In: On Sustainability Fifteenth International Conference on Environmental, Cultural, Economic and Social Sustainability.

Vancouver.

• Campbell, E., Keeffe, G and Boyd, G., 2019.

Unpacking the supermarket: methods to visualise systems behind space. In RIBA Research Matters 2019. London: RIBA, p.58 Engagement: • TEDx talk ‘Can bees help us to design a sustainable supermarket?’ (2021) • Undergraduate and Postgraduate Design Tutor (2017-2021) • Invited speaker on Build Belfast Back Better podcast (2021) • Invited Panel Judge for Bubble Futures Platform competition (2020) • Researcher at M-NEX workshop in Belfast (2020) and Doha (2019) • Researcher at City-zen workshop in Nicosia (2019)

117.

1.

1. LIDL Reflected Ceiling Plan

118.

PhD Research

2.

3.

2. Mapping the journey of a basket of goods 3. Future Supermarket ‘Slow Food Stoa’

Architecture at Queen’s

119.

PhD RESEARCH

SUPER GREEN: AN ARCHITECT’S REDESIGN OF CONCRETE FACADES PANELS USING WASTE MATERIALS Student

is being tested due to it being the most underutilized and available space within current city designs (Gehl, 2010). It is also the orientation that proposes the most difficult challenges; if we can conquer the vertical the horizontal will work.

Elizabeth Gilligan

This research developed a critique, methodology and experimental process that examined what an

Supervisors

architect brings to the material development process.

This line of questioning is framed within the context of developing a concrete façade panel from industrial waste that is bioreceptive, meaning it can sustain plant growth on its surface.

Dr. Rory Doherty Dr. Sree Nanukuttan Prof. Ruth Morrow

Every 10 years an area the size of Britain disappears under concrete. In the next decade, the urban environment is predicted to grow by 30%. In 2014, around 54% of the world’s population were living in towns and cities. This number is projected to increase to nearly 70% by the middle of the century (2050) (Jessen, 2003).

Globally, more waste is produced now than ever before. Our waste is projected to nearly double globally over the next 15 years. This equates to 1.3 billion tons of landfill waste annually, which is projected to increase to 2.2 billion tons by 2025 (United Nations, 2019).

With urban environments on the rise, the importance of sustainable developments in cities are more crucial than ever. In this research the vertical space

120.

The research is a multi-disciplinary PhD that takes a whole view of the material development process from inception of idea to fully formed material and examines what an architect brings at each stage whilst simultaneously developing a non-structural bioreceptive concrete. The drivers for this research are both disciplinary and technical.

The main findings from this research show that waste materials can be used to enhance bio-receptive qualities in concrete, reducing both the carbon emissions and increasing the rate of carbonation on the surface of the concrete. Thus, increasing the amount of carbon, the concrete can “absorb”. The material offers a 57.38% reduction in CO2 emissions.

It was found that an architect’s skills can be used to enhance the material development process and this area of research would benefit the education of architects.

This multi-disciplinary research allows for a material to be developed at pace and with more viewpoints, creating a more robust process.

PhD Research

Papers: • Gilligan, E, Morrow, R, Doherty, R & Nanukuttan,

•

•

•

Exhibitions: 1. Future Build

S 2019, ’Waste not, want not’. On Sustainability International Conference, Vancouver, Canada.

Jan 2019. https://onsustainability.com/assets/ downloads/sustainability/S19_FinalProgram.pdf Gilligan, E, Morrow, R, Doherty, R & Nanukuttan, S 2018,’What has an architect brought to

(02.20 to 02.20) The work was displayed as part of the future concrete exhibition at Future Build held by the Concrete Centre.

The work was selected for its novel approach to using waste material and its bioreceptive qualities.

material development’. Research Matters (RIBA).

Sheffield, UK. Oct 2018. https://www.architecture. com/-/media/files/awards/riba-presidentsawards-for-research-2018-book-of-abstracts.pdf Gilligan, E, Morrow, R, Doherty, R & Nanukuttan, S 2018, ‘Material development: An architect’s journey’. Young Researcher Forum IV ‘innovation in materials’, University of Northumbria, Newcastle, UK. Apr 2018. Peer reviewed. http:// www.materialsliz.co.uk/2018/04/film.html Gilligan, E, Morrow, R, Nanukuttan, S & Doherty,

2. Quad Pavilion, Queen’s University Belfast (04.19 to 10.19) This project was funded to allow for a large-scale mock-up/pavilion from three research clusters within the university. The project offers the unique opportunity to make a large-scale mock-up of the research, in a testing and exhibition form. The project was used to understand the material in application and external contexts.

R 2017, ‘Super green2: An architect’s journey into the world of material development and sustainable design’. Advanced Building Skins, Bern, Switzerland. Oct 2017. https://core.ac.uk/ download/pdf/144580907.pdf

(06.19 to 08.19) The Royal Academy Summer Show is the world’s largest open submission art show and brings together art in all mediums. The 2019 agenda for architecture aims to show how good design and a strong sustainable agenda can be mutually compatible, illustrating approaches necessary to help protect the environment. A piece related to my research was selected for inclusion.

Architecture at Queen’s

3. Royal Academy Summer Show 2019

121.

1.

2.

1. Corner detail of growth and concrete with Sedum Anglicum and Album.

2. Left to right: X-ray microtomography scan of mix; a cubical sample (100 x 100 x 100 mm); 1:1 prototype of the panel with vegetation.

122.

PhD Research

3.

3.

4.

3. Diagram above shows on average how the temperature is different at the bottom and top of the panels and that the moisture levels differ across the panels.

4. Final pavilion with control bench.

Architecture at Queen’s

123.

1.

1:50 Final S

1. Roger Bonnar - RSUA Bronze Medal Winner 2021

124.

Master in Architecture (M.Arch)

MASTER IN ARCHITECTURE (M.ARCH) DR. COLM - M.ARCH PROGRAMME CO-ORDINATOR At its core our M.Arch programme’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.

125.

ESKER RIADER M.ARCH Students

Staff

MArch I; Roqaiya Ashraf, Emma Depoorter, Rongzhen Jiang, Tong Fong Koo, Celine Lecouturier, Francesca Logan, Clarissa Moore & Daniel McCorry.

Prof. Greg Keeffe & Dr. Seán Cullen.

MArch II; Orlagh Casey, Christopher Connolly, Sarah Devlin, Stravroula Perdikaki, Philip Richardson & Jessica Scott.

Emma Campbell (QUB), Dr. Andy Jenkins (TU Delft), Kevin Logan (Maccreanor Lavington), Orla Murphy (UCD), Molly McCluskey, Dr. Craig Martin (TU Delft) & Prof. Rob Rogemma (Cittaideale, QUB).

With thanks to

1.

1. Daniel McCorry - Choose your own Ireland

126.

Master in Architecture (M.Arch) - Architettura Superleggera

Architettura Superleggera looks at the relationship 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.

This year, Architettura Superleggera, studied the ‘waistline’ of Ireland, stretching from the Galway Gaeltacht to the Dublin Docklands. This belt was historically used as a highway from east to west and defined by the natural network of raised landscapes that allowed the bogs of central Ireland to be traversed, known as the Esker Raider. The studio aimed to examine the tension of Ireland’s relationship with its history, landscapes, policy, culture and the environment. Our interest lay in how the effects of globalisation are changing the lifestyles of resident and shaping landscape, both urban and rural.

Architecture at Queen’s

Using maps, diagrams and montage, the studio examined how design practice can view, understand and use complex information and data emerging from research. Through scenario building, the studio explored how to leverage latent cultural, social, economic and environmental dynamics that affect the built and natural environment over long periods of time, in particular the mutability of these dynamics in the context of the Irish town, landscape and infrastructure.

The thesis work started by unpacking everyday activities in historical and contemporary conditions, in order to imagine new futures for the Irish town and rural condition that re-examines global, intermediate and local flows. The thesis project envisage new systems, synergies and process-based ideas for architecture and the built environment that see ecology, landscape and the environment as core code.

127.

1.

Exploded Axonometric 1:200

1.

1. Clarissa Moore - The Future of the Supermarket - An Alternative Reality

128.

Master in Architecture (M.Arch) - Architettura Superleggera

2.

2.

2.

2. Koo Tong Fong - Eco-Equine Learning Centre

Architecture at Queen’s

129.

LIVING ARCHITECTURE: FORMULATING URBAN FARM SYSTEMS THROUGH NATURE BASED SOLUTIONS ORLAGH CASEY This thesis project explores potential for urban based farming systems designed and constructed by new technologies in conjunction with natural matter and waste to tackle high levels of pollution in our environment. The proposed scheme sets out to eliminate waste through the implementation of a circular systems that creates viable products/ food products.

This project explores the use of new construction technologies through the use of robotics i.e. 3D printing. Through this method new materials can be created, formed, and controlled with the use of computational design and BIM softwares.

130.

This scheme forces us to recognise our contribution to climate change by taking back our waste. Exploring the active environmentally positive properties from organically sourced building materials in collaboration with computational design and emerging technologies allows us to approach urban design in the right way.

This project also aims to explore a new form of architecture. Not one that is static and unresponsive, but one that is alive and growing, one that utilises natural resources, recognises and tackles pollutants in the air. With a mixture of natural matter and technology not only can a new form be designed but a new urban system. This project offers a large scale urban solution to an even larger global problem.

Master in Architecture (M.Arch) - Architettura Superleggera

:srew

ot g nily

cer evil

SI SIH F A W T ON DOO !REWO F T

HSER

live

recyling

towers:

IS THIS A FRESH NOW FOOD TOWER!

live

recyling

towers:

IS THIS A FRESH NOW FOOD TOWER!

WATER TOWER

RECYCLING TOWER live

recyling

towers:

IS THIS A FRESH NOW FOOD TOWER!

live

recyling

towers:

IS THIS A FRESH NOW FOOD TOWER!

STRUCTURE GROWTH (AIDED BY HUMAN INTERACTION VIA WASTE PRODUCTS + NATURAL GROWTH) CREATION// 3D PRINT CONSTRUCTION

RECYCLE PRODUCT

COLLABORATION WITH NATURAL MATTER

USAGE OF NEW PRODUCT

CONSUMPTION HARVESTING WASTE

NEW MATERIAL (BIOMATERIAL)

REPURPOSE

CONSUMER WASTE// PACKAGING WASTE

RECYCLING// FOOD WASTE CENTRE

CREATION // NEW MATERIAL BIOPLASTIC FROM FOOD WASTE

HARVESTING 3D PRINTED PLANTING POD 3D PRINTING// NEW PRODUCTS FROM WASTE

Architecture at Queen’s

CONSUMER INSERTNG PLANGTING POD CREATED FROM REPURPOSED FOOD WASTE

CONSUMPTION

WASTE

=

CIRCULAR SYSTEM

+

131.

GAELTECH: REGIONAL REINVENTION IN A 21ST CENTURY HERITAGE LANDSCAPE CHRISTOPHER CONNOLLY This thesis explores the identity and transition of an indigenous region in decline. Through the lens of the Galway Gaeltacht, the thesis investigates the cultural conditions and connections of Gaeilge society in a landscape where the traditional identity is positioned at a critical point of its existence. The shifting cultural demographic in a 21st century world has left behind traditional Celtic culture and its traditions in regions where it once flourished in daily life.

The Gaeltacht is losing a battle of relevance in a globalised society. No longer can the survival of the native Irish language and cultural traditions be dependent on the inward thinking and stagnant framework that exists presently. A new and reinvigorated regional strategy poised at the fore-front of 21st century living can facilitate a Gaeltacht that celebrates its past for

132.

the culture and traditions that has made it unique and distinct but also embraces the future, pioneering its way to development through innovation. To understand the decline and potential for transition, an understanding of the existing condition must first be detailed.

The thesis studies the context at multiple scales, from detailing the spatial makeup of the region, investigating the connections and constellations of settlement through the exploration of theories and ideas about settlements and their distribution. Exploring Irish identity and the history behind the cultural, social and economic character of the region is a key theme for the thesis, giving a broader understanding of the unique and diverse identity of the Gaeltacht. This consideration allows for a more informed proposal for the repurposing and reinvention of place.

Master in Architecture (M.Arch) - Architettura Superleggera

Architecture at Queen’s

133.

THE TRANSITION OF OPPORTUNITY: OFFALY’S NEXT MOVE SARAH DEVLIN Peat extraction has been an important social and economic entity in Offaly since the early 1900’s. The relationship between Offaly’s economy and its Natural Capital is entangled and reliant on one another.

In first semester I focused my research and design into the impending closure of the peatland bogs, suggesting possibly economic entities which could be gained through carbon sequestration and how Bord Na Mona and peat extraction have contributed to the Offaly economy.

Earlier than expected in January 2021 before the beginning of second semester Bord Na Mona announced an end to peat extraction on its remaining 21 bogs. Consequently, the Just Transition mechanism was announced and established, including a €5.5million EU investment fund into twelve Offaly projects which aim

134.

to transition its economy away from peat extraction to renewable energy means.

This unexpected change in the policy-scope and the development of the Just Transition program enriched the project, allowing a critique of the current propositions, and an opportunity to develop a nine stage scope approach.

The Transition of Opportunity Scheme is set in the context of the ‘Just Transition’ mechanism currently taking place and aims to transform the Clara bog and Village landscape. This transition period, which Offaly currently sits within, brings with It opportunity to offer a radical approach in creating an economically and environmentally sustainable future Offaly.

Master in Architecture (M.Arch) - Architettura Superleggera

Architecture at Queen’s

135.

ARTIFICIAL SUPERORGANISM ECO-TOWN: AN AUTONOMOUS PARASITE AT THE DOCKLANDS OF DUBLIN STAVROULA PERDIKAKI My thesis analyses the housing crisis within Dublin that happened due to the Celtic tiger as well as due to the cooperate tax which is 13%. Homelessness is a big issue for Dublin and the irony is that there are approx. 5000 derelict houses in that area but nowhere to live as the asking rent price is extremely high.

After these housing research I started thinking of a society that ownership taxis, unnecessary violence, blackmailing and surveillance would not exist. An autonomous society within Dublin or a non-state that would operate through clean energy, greenhouses, self-efficient reconstructed houses, permaculture fields, floating houses, elevated bridges, and a new urban masterplan. My main inspiration was Nikola Tesla – Free Electricity Network Theory as well as- Eco socialism and the theoretical perspective of anarchism. The Project it is called A.S.E.T - Artificial Super organism Eco town – and it is inspired by intertwined

136.

interactions that create the perfect ecosystem with working living and business places.

The thesis is proposing a new Social, Economic and Housing system. The Social and the Housing system it is based on the Dublinopoly (an updated version of Monopoly), Greek Mythology as well as Holacracy.

Dublinopoly it is not just a board game. Dublinopoly keeps all the ownership legislations, as well as the social strategy that will operate within my project.

A.S.E.T relies on social impact and low profit investment.

It also follows an ethical housing movement that goes against the governmental decisions and the financial assistance. The project has as a target to increase the job opportunities, create a stronger energy economy, reduce the average asking renting price and decrease the homelessness.

Master in Architecture (M.Arch) - Architettura Superleggera

Architecture at Queen’s

137.

THE CHRONOSCAPE PHILIP RICHARDSON The thesis adopts a thematic framework that explores the insurgence of multinational tech corporations within Ireland and the Dublin Docklands, the incentives that encouraged their move and the realities faced of their presence. The merger of integrated spatial planning and Class A urban infrastruc­ture upgrades with economic attraction policies have leveraged digital and civic investment as a means of corporate attraction and retention of foreign direct investment. The expanding nature of foreign direct investment (FD!) In Ireland has caused a high degree of overde­pendence on FD! for economic growth. The current eco­nomic model that exists today is very unstable and under threat to any future ‘firm-specific shocks’ that could result in the disappearance of multinational tech corporations.

This thesis emerges from this context of corporate

138.

attraction within the Dublin Docklands. A new engineered conception of time, which is no longer exclusive­ly the time of classic chronological succession, but now a time of chronoscopic exposure of the duration of events at the speed of light.

A multi-layered, multi-type landscape containing artificially determined work spaces is born forming a megapolitan hyper concentrated environment that diminishes geo­physical constraints of the natural world.

Hegemonic influences of emergent technological culture have formed a dromospheric contamination of time dis­tances that has reduced between corporate and living environments. The Chronoscape enjoys new real­ities of the time interval in a horizonless cosmos forgetting existing spatial exteriority. Without a distant horizon, there is no possibility of glimpsing reality.

Master in Architecture (M.Arch) - Architettura Superleggera

Architecture at Queen’s

139.

SECOND CHANCES: THE GEOFENCING OF AN IRISH TOWN JESSICA SCOTT Our digital society is masking the climate crisis under a disguise of a seamless, virtually augmented technologies. We spend hours every day connected to the internet, we depend on it for our work, education, and social life, we think through it, we pay for it, however, we only notice it is there whenever it breaks. This dependency has led to the production of astronomical amounts of carbon dioxide from data centres. Ireland places itself at the centre of this issue as it is regarded at the ‘data center capital of the EU.’ The internet evaporates agency, ownership, and negotiation. There is no such things as local effect in a networked world, its consequences are invisible.

Similar assumptions can be made about the burden of people, energy, and industry. If we continue to

140.

consume resources at today’s speed, we will rapidly reach the boundaries of life on earth. Through the mechanism of geofencing a new form of community can be created. Based on osmosis and negotiation the Geofence exposes infrastructures within the context of Edenderry, Co. Offaly. The cause, and effect will reveal the localised management and negotiation of how to use it, geofencing provides all of the elements that allows a town to not only be resilient but to thrive.

The residents have a collective response in managing the Geofence, which can be altered depending on the needs of the town. The project promotes strong and effective action to address the climate crisis which is achieved through processes of collective empowerment.

Master in Architecture (M.Arch) - Architettura Superleggera

Architecture at Queen’s

141.

SCAFFOLD M.ARCH Students

Staff

MArch 1; Rachel Aitcheson, Rhys Carson, Matthew Crowe, Ciara Higgins, Duan Ma, Shannon McVeigh & Ching Ki Sen.

Prof. Michael McGarry & Ben Weir.

MArch 2; Rachel Brown, Ciaran Gormley, Nehal Jain, Emma Kelso, Czarinah Lou Malate, Juliette Moore & Emma Stewart.

Prof. Jo Van den Berghe & Mira Sanders.

With thanks to

1.

Cross Section (AA) 1:50 @ A1

1. Rachel Aitcheson - Riddle’s Warehouse Conversion

142.

Master in Architecture (M.Arch) - Scaffold

Scaffold is a ‘device of a pragmatic transient support’, something relatively simple required to enable something more complex to happen; this studio sees the MArch programme as a scaffold to enable students to clarify their own way of spatial and material design, ie how they actually produce or might produce architecture. The studio is focused on individual development rather than topical concern and is led by Professor Michael McGarry and Ben Weir - both are practitioners in architecture.

This year Scaffold worked in tandem with the masters studio of Professor Jo Van Den Berghe of the Faculty of Architecture at KU Leuven in Belgium, with whom we share a concern for the physical, or the imagined as physical, the imagined being distinct from the virtual; both studios use ‘place’ as specific occasion, a platform to share methods of research and insight, and as being instrumental in the production of spatial/material proposals; both studios see research as embedded within the actual disciplinary activity of the spatial designer.

Architects act vicariously at one or more remove from the consequences of their design decisions, with representation typically defined as the linear devices of communication between the imagined, the constructed, and the occupied. Our interest is somewhat different, it is the internal representation underpinning that reciprocal relationship between

Architecture at Queen’s

author and her/his productions; specifically, how we represent space to ourselves as we design - a process that directly influences the eventual designed outcome.

This is a form of qualitative research through representation in which the self-reflective architect uses discipline-specific techniques to explore her/ his anecdotal and personal design practice. Process and design research are linked but distinct; if process is the cumulation of design iterations, then design research might be the underlying artistic practices ie patterns of behaviours involving techniques, thoughts, and actions; Scaffold is about surfacing those behaviours in the spatial practitioner. Mira Sanders of KULeuven introduced research techniques to support this research.

First semester work (MArch Studios 1 & 3) was located on a stretch of the River Lagan and involved research and design exercises which culminated individual resolved fragments of architecture. In the second semester MArch1 students reimagined a 19th century warehouse building as a place to live (MArch Studio 2), producing design proposals resolved in terms of the individual student’s tectonic sensibility.

MArch2 students chose their individual project vehicle for the second semester studio (MArch Studio 4) and developed architectural proposal through the lens and ways of working discovered in the first semester.

143.

1.

1.

2.

1. Rhys Carson - Riddle’s Warehouse Conversion 2. Rachel Aitcheson - Riddle’s Warehouse Conversion

144.

Master in Architecture (M.Arch) - Scaffold

3.

3.

3.

3. Ciara Higgins - Riddle’s Warehouse Conversion

Architecture at Queen’s

145.

SUBTERRANEAN GALLERY AND PERFORMANCE SPACE RACHEL BROWN This thesis is concerned with light, shadow, materiality and their interaction – how light falls on or reflects on a material surface and the resultant shadows cast, as well as the representation of these spaces and their atmospheres through hand drawings.

The subterranean nature allows control of daylight entering the building. By day, the galleries are lit by multiple skylights and the double-height performance space by an oculus, while at night light from the building below illuminates the public space.

The ambition of the final project was to promote the arts culture of Belfast by providing a gallery and performance space within an enclosed site at Murals Square. Due to Murals Squares’ established history and the unsuccessful ground condition of the site, the decision was made to make the project subterranean whilst maintaining the public space above and external display walls.

The scheme is designed as a sequence of carved out spaces, of controlled conditions, considering light, shadow and materiality and the relationship between underground and surface regarding the differing temporalities and rhythm of the underground scheme which can contrast with that taking place on the surface.

146.

Master in Architecture (M.Arch) - Scaffold

Architecture at Queen’s

147.

A PRAGMATIC ATTITUDE TOWARDS MATERIALITY & RE-USE IN ARCHITECTURE CIARAN GORMLEY The intention of the thesis is to determine the opportunities, particularly those presented to the ‘Architect’, when a pragmatic attitude towards materiality and re-use is adopted. The overall intention of the project was too reestablish a meaningful connection between the people of Omagh and the Strule River, in which the town has physically turned its back.

148.

The programme is a result of the found condition and the aesthetic is driven by found objects. The final proposal is essentially a piece of public infrastructure providing the public realm of Omagh with: a riverside ‘boardwalk’; an accessible upper plaza; a landmark tower; and a screen (as windbreaker), protecting the open public courtyard.

Master in Architecture (M.Arch) - Scaffold

Architecture at Queen’s

149.

BANK SQUARE - URBAN CANOPY NEHAL JAIN The site is located at Belfast’s City Centre within a network of historically significant streets and structures, abutting Royal Avenue. The site receives bright sun and people might like to sit there. The Canopy will act as a catalyst, creating a new node within the city, rediscovering Bank Square with a thriving public realm.

Key routes will be reinstated to amend the fractured connections to the centre. The project proposes the reconfiguration of public spaces of Bank Square.

The canopy is positioned independently in the centre of the square retaining the continuation of urban space by retaining the narrow street character of Bank Lane on one side and on the other merges seamlessly with the open space abutting St. Mary’s Church. This positioning of the canopy allows it to benefit from the

150.

southern sun that is drawn within the space through glazed lattice roof structure. The Canopy rests upon three chamfered and sculpted concrete columns to make a presence in the space. The structure is treated differently based on the space it intends to shelter.

The historic street pattern is reflected in the hard landscape style, which is defined by an expansion of the natural granite stone paving materials used in Belfast. The ground surface is unified by a continuous flooring material laid in changing directions. The natural limestone ground surface reflects the pattern from the ceiling and forms constantly changing patterns of shadows. The design integrally handles rainwater movement from the roof to the ground, through a nexus of rainwater channels.

Master in Architecture (M.Arch) - Scaffold

Architecture at Queen’s

151.

ARC 7021

Thesis research

(c) Emma Kelso

30

41A SEYMOUR STREET EMMA KELSO 41a Seymour street Lisburn houses a three-storey terrace house (currently used for charity work) and a twostorey unused outhouse forming a yard space with the main house. Upon travelling through an external corridor shaped by the outhouse and boundary wall, you enter a long narrow garden backing onto a learning resource centre that lines Wallace Avenue.

This project proposes the extension and connection of two city centre streets in Lisburn through a dynamic street space housing rooms for social, economic and sustainable growth for an urban centre living in the shadow of a global pandemic. The reuse of the existing built environment is a sustainable approach necessary in our current climate crisis. This projects engages with the surrounding context on three scales: (1)urban (landscape); (2) object (The link); and, (3) detail.

152.

It is hoped that the proposed intervention is seen as a pioneering project and could occur throughout the city were there are opportunities to utilise vacant space between buildings to increase connectivity and meet the needs of those who live and spend time in the city.

This approach is not interested in the overall form but rather the spatial events that can result from the intervention. This aligns with Allen, ‘architecture not defined by built structure, but by the relationships of forms within an abstract field of dynamic conditions’ (1985).By producing architecture that responds to the spatial, social, economic and environmental context and needs of a given place, the architect can regain a foothold in society. In a profession struggling to understand its role, this is a positive step forward by meeting the needs of a place by a spatial means.

Master in Architecture (M.Arch) - Scaffold

Architecture at Queen’s

153.

SURFACE METAMORPHOSIS CZARINAH LOU MALATE The proposed site is Coles alley which is located in Belfast city centre, it runs between Church Lane and Ann Street. The scheme does not focus on a specific program or function, rather it focuses on proposing two new skins which have vertical structures and horizontal panels with different surfaces and materials that welcome weathering.

alleyway into a flexible space.

The concept has a series of folds (both on plan and elevation) in contrast to the adjacent orthogonal buildings on site. There is an existing substation on site which can be used potentially as a ‘stage’ for certain activities. The aim of the proposal is to revitalise and activate the space and turn this

The proposal aims to provide a significance in the urban context of Belfast city centre and turn this deprived alleyway into a piece of parasitic architecture- structurally dependent on the existing façade but is independent in terms of its qualities and characteristics as a new skin façade.

154.

Aside from providing a public space, a connection is also incorporated which is hung and anchored to the existing carpark by means of redesigning the façade with active staircases to be more accessible by the public, linked to the existing substation.

Master in Architecture (M.Arch) - Scaffold

Architecture at Queen’s

155.

THE MORPHOLOGY OF LINES JULIETTE MOORE The crux of the thesis explores how lines can be manipulated to inform and justify design decisions, mainly through drawing. Intertwining research and design, the thesis is both technical and spatial in its analysis of line in different formats and mediums. The use of line indicates a preference to work in a certain and explicit way and developing series of established, controlling lines became a tool for design.

Located in Railwayview Street, Bangor, the project takes the form of four detached dwellings, a local shop, café and community path which connects the street to Bangor train station. Previously separated by a steep bank, the topography of the area influenced the project, particularly the impact it has on the roofscape of the streets with chimneys marking their

156.

silhouettes at regular intervals.

The design was informed by tracing physical plotlines and guidelines while simultaneously narrating individual plotlines and storylines to refine the programme. Analysing the geometries of the context with the predicted paths of movement through the site created patterns which guided internal spatial arrangements, structure and materiality. Interpreting the characteristics of the place created mixed use building typologies, reminiscent of the streets of the past. Lines of notation and sound were also used to capture the atmosphere of the project beyond its technical configurations, evidencing the multifaceted outcomes of the design methodology.

Master in Architecture (M.Arch) - Scaffold

House 1 Level 1 1:50 @ A3

Architecture at Queen’s

157.

FUTURE URBANISM M.ARCH Students

Staff

MArch I; Aarjan Bista, Daniel Bittels, Chun Cheung, Ewa Cichon, Karthic Vivenhananthan, Kavya Saghal, Matthew Graham & Sara Rodriguez.

Prof. Tom Jefferies, Dr. Laura Coucill & Dr. Amber Roberts.

With thanks to

MArch II; Aisha Holmes, Daniel Henning, Jing Ting Lim, On Na Tai, Ronan Keith, Shing Man Yiu & Sitong Guo.

Jamie Wallace (WallaceLiu), Kevin Logan (Maccreanor Lavington), Carmella Cucuzella (Concordia University), Sherif Goubran (The American University in Cairo), Aoibheann Ní Mhearáin (UCD), Sarah Kim, Silvio Lussana & Brent Haynes.

1.

1. Karthic Vivehananthan - Agricultural City

158.

Master in Architecture (M.Arch) - Future Urbanism

Future Urbanism is a leading-edge design research forum which develops, critiques and communicates ideas of place, environment, culture, technology and sustainability to define the limits of contemporary and future lived space. This questions normative solutions to massive global challenges through design research and introduces new and necessary constructs to reimagine future space.

Digital communications networks are beginning to alter our experience of space and evolve new architectural typologies. This year, our work has been framed by the constructs of Operational Infrastructure Space and Networked Intelligent Region. We have studied underlying spaces and networks in Northern Ireland to identify the capacity for contemporary urban form and lifestyles. This work has been informed by comparative studies of international lockdown experiences and the critical evaluation realised and theoretical ideal cities. Through the process of design research, Networked Intelligent

Architecture at Queen’s

Region takes Northern Ireland as a territory for investigation and testing: exploring and applying existing and emergent constructs of distributed settlement, inhabited and productive space and complex inter-dependence between symbiotic types of territorial utility.

Through engagement with international, national, regional and local policy agendas and reflecting Architect’s unique skill in understanding and responding to the dynamic complexities of inhabited and productive space, thesis projects explore complex interconnected themes that shape resilient carbon negative futures, develop new patterns of liveability and propose changes to policy. These projects reimagine urban forms to address protected landscapes and renewable energy, existing urban patterns and future transport infrastructure, global cultures and local identity. Design proposals present significant, but necessary, change in a context of disruption, displacement and climate emergency.

159.

1.

Proposed Masterplan The masterplan is organised around pastures surrounding Cookstown, its organisation primarily follows ideal positioning for the management of waste streams of the different sectors. Through research of biomass CHP plants it became evident the plants needed to be located ideally between the greenhouse districts and areas of livestock rearing, to minimise travel distances for inputs and outputs of the processing plant.

The area of land required for each sector were fit around existing road networks and parcels of land.

The proposal also implements a public pathway, reducing the gap between food production and consumer. Whilst also implementing market stalls at the edge of greenhouses, creating market districts for vegetables, fruits and meat.

1.

1. Karthic Vivehananthan - Agricultural City

160.

Master in Architecture (M.Arch) - Future Urbanism

2.

2.

2. Aarjan Bista - Great Victoria Street Station

Architecture at Queen’s

161.

DRONE DISTRIBUTION TOWER AND INFRASTRUCTURE SITONG GUO At this moment last year, most of us did not know concepts such as ‘lockdown’, ‘mandatory masks’ and ‘social distancing’. These have become part of our daily language and the coronavirus is still affecting our lives.

In this epidemic, in the context of the sharp increase in material transportation pressure and the outbreak of contactless delivery demand, the delivery value of drones, such as flexibility, convenience, safety, and efficiency, is remarkable. In summary, considering similar situations that will appear in the future, air logistics will be an important breakthrough in the future medical industry.This project is the drone distribution center designed for Belfast. The contactless delivery of drones will effectively reduce the infection rate of the virus and ensure the timely delivery of medical supplies in the special environment caused by the epidemic.

162.

In addition, the project will be designed to address the ‘last mile’ problem, which is the least efficient and most expensive part of transportation planning. The use of drones will break through the limitations of ground transportation, and solve some long-standing problems in delivering medical products from the transportation hub to the destination.

Furthermore, this project explores the evolving relationship between the city and the urban infrastructure inhabited with in it. The drone distribution industry may have the potential to gradually become the mainstream for urban delivery to apply. The way this delivery system could have adapting versions through the whole evolution process within its urban environment.

Master in Architecture (M.Arch) - Future Urbanism

Architecture at Queen’s

163.

MONUMENTS OF THE CARBON AGE DANIEL HENNING Landscapes have been manipulated by humans since the birth of civilisations in the fertile crescent circa 4000BC. Since the early renaissance and into the 21st century landscapes have come to represent the rise of carbon extraction and production. The landscapes of the world are now more representative of our society’s rampant consumerism and wastefulness.

The Thesis engages and visualises the controversies surrounding the Food, Water and Energy Nexus.

These controversies include monocultured landscapes, dead soils, a polluted water system and increasing CO2 emissions in the atmosphere.

164.

In the Glens of Antrim, a rewilding strategy for carbon sequestration landscapes is defined through elevation from sea level and the conditions that are best for organic growth. Rivers are used to carry natural nutrients from the upper peatlands down through to the kelp forests in the Irish sea.

This growth can be harvested sustainably to create biochar, which is imported from the production centres in the Glens of Antrim. The Biochar is formed into pyramids designed with ratios in line with the golden ratio, locking carbon into a new sedimentary layer and becoming monuments to de-carbonisation.

Once the de-carbonisation of Northern Ireland is complete, nature re-wilds.

Master in Architecture (M.Arch) - Future Urbanism

Architecture at Queen’s

165.

GREAT VICTORIA STREET: THE PENTIMENTO OF EXPERIMENTAL LANDSCAPES AISHA HOLMES Covid-19 has caused a global awareness of spatial latency and the limited opportunities that our home environments have to offer. Lockdown has also impacted the wellbeing of the global population and has created greater concern for issues such as mental health, work life balance and accessibility.

These issues have inspired the thesis proposal with the intent to discover how new experiential landscapes can be introduced to a local context and the ability these new experiences would have to improve the everyday lives of residents and visitors.

The site that is being investigated within the thesis

166.

is Great Victoria Street, located at the edge of Belfast City Centre. Currently Great Victoria street is extremely car dominant with a series of restrictions imposed on pedestrians as they try to navigate through the street.

Through historic and existing analysis, the range of opportunities that a site can offer can be uncovered.

Understanding the historic layers creates the opportunity to revive and adapt these experiences, as well as discovering the potential for the new.

This thesis proposal takes this idea of creating new experiences and applies it to a site that is perceived to be finite and irremediable.

Master in Architecture (M.Arch) - Future Urbanism

Architecture at Queen’s

167.

ELECTRIC URBANISM RONAN KEITH

Lingotto by the Sea -

Future Cities | Electric Vehicle Urbanism | Newcastle,

The imminent ban on the sale of petrol and diesel cars in the UK, highlights the need to rethink vehicular infrastructure and associated urban experiences.

Whilst electric vehicles resemble their petrol and diesel ancestors, their infrastructural requirements demand radical revisioning of the urban context, of a magnitude last considered by the Buchanan Report, Traffic in Towns (1963). Differences in travel range and refuelling will change the nature of how and when we engage with infrastructure and facilities. A robust and resilient charging network is necessary and current charging limits offer the opportunity to rethink urban experiences based around charging timeframes.

In this project, Newcastle is reimagined as an experimental seaside town based around the electric

168.

car industry. It provides the opportunity to explore how electric vehicle infrastructures can inform urban space and experience. Spare parts of combustion engine-based vehicles are repurposed and recycled to contribute to electric vehicle conversions, encouraging the acceleration of the uptake of electric vehicles.

This process also enables current technology vehicles to remain relevant in a future age of automotive technology.

How can existing infrastructure be repurposed and how will people engage with their surroundings during charge times? Will destination-based services reemerge in the form of charging hotspots? What might a 30 minute or hour-long charging urbanism be like?

Master in Architecture (M.Arch) - Future Urbanism

Repurposed combustion engine vehicles have been made relevant through electric conversion. Vehicles such as the Delorean are given new life through the addition of battery packs. The charging ‘dwell time’ dilemma has been faciltated through an open air cinema on the roof of the scheme overlooking Newcastle. Thanks to the introduction of the new electric charging facility there is no need for parking directly on the high street. Other electric vehicle users who have parked in the building are free to roam the decongested high street of Newcastle during their charge time. The pedestrian has right of way on the high street and a new form of electric urbanism has been created.

Ground Floor - Repurposing Vehicle Centre (Petrol+Diesel to Electric) and Electric Vehicle Charging Facilities First Floor - Electric Vehicle Charging Facilities and Sport Facilities (MUGA Pitches and Tennis Courts) Second Floor - Electric Vehicle Charging Facilities Rooftop - Open Air Cinema, Public Space and Electric Vehicle Charging Facilities

Architecture at Queen’s

Electric Vehicle Charging Scenario Delorean Convention on the Roof of the Scheme - Open Air Cinema

Section through High Street

169.

THE RENEWABLE ENERGY LANDSCAPE OF MOURNE SHING MAN YIU This thesis explores the possibility of distributing renewable energy in the Mourne Mountains. The proposition advocates designing Mournes’ renewable energy landscape as a beacon of energy efficiency between sub-nation, regions, or states, in which strategy might sprawl.

With the intention to locate small-generation units, the Renewable Energy Landscape of Mourne can adequately power the adjoining towns and release the burden of other sites for renewable energy infrastructure.

170.

When the dry stone wall represents the culture of Mourne, solar panels installed into a granite shell may amplify the cultural value. Since road traffic could extensively damage the mountainous area, a hybrid of a recycling plant and drone distribution centre is designed to allocate PV panels. The Automated Recycling Centre which embeds half into the ground manifests as a non-human space, while the cafe within permits visitors to experience this isolated part of the landscape, in which the space creates the sublime and beautiful by capturing the view of Slieve Binnian.

Master in Architecture (M.Arch) - Future Urbanism

Architecture at Queen’s

171.

IN PRAISE OF ADAPTATION M.ARCH Students

Staff

MArch I; Merin Antoney, Louise Gaborit , Niamh Hughes, Hollie Lake, Charles Monaghan, Sofia Binti Mohd Nasir, Jordan Nolan, Matthew O’Neil & Aaron Vinaccia.

Jane Larmour & Keith McAllister.

MArch II; Bridget Bale, John Doherty, James McAuliffe, Hannah Miskimmon, Megan Ross & William Brady.

With thanks to With sincere thanks to Guest Reviewers Laura Harty (Edinburgh College of Art) and Mark Todd (Mark Todd Architects) and to the many who helped support and facilitate the work of the studio, including; Liam McQuillan (Historic Environment Division and Department of Communities), Paul Beattie (Causeway Coast & Glens Council), David Tosh (National Museums of Northern Ireland), Anthony J. Quinn (Novelist) & Professor Michael Titlestad (University of Witwatersrand, Johannesburg).

1.

1. Hollie Lake - Sketch of Armagh

172.

Master in Architecture (M.Arch) - In Praise of Adaptation

Very simply, architects seek to make things better.

In a time of diminishing resources and increasing environmental pressures, we now need to look at ways where we can reuse our existing built fabric by adaptation rather than replacing 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.

That understanding is predicated on being able to accurately observe, examine and read the elements that make up and constitute the most basic yet precious constituent of society and architecture … place. It was on this basis that In Praise of Adaptation operated.

Investigating how place is understood helped form the starting point of our study. Expressly this looked at the traditional, the vernacular and the oft overlooked elements that make up our built environment as viewed by visitor, stranger and resident. Initial studies focussed specifically on the window as architectural element helped first shape this research before progressing to reimagining the small scale Ulster village.

that purpose. There the students were tasked to investigate ways of making of adapting existing disused, derelict and undervalued building stock in its Conservation Area for live, work and play, whilst bringing added resilience to the village.

This then supported the work in the second Semester, when M.Arch II students remained in Bushmills and its environs to progress and develop their own personal research and design interests whilst the M.Arch I students moved to Armagh. There, to increase their knowledge in both the themes of ‘Readings of Place’ and narrative, the M.Arch I students were tasked with providing a Story Telling Academy right in the heart of the historic townscape.

Fuelled by stories from afar, the students had to rework a derelict dwelling and garden back into the tapestry that is Armagh as an investigation into narrative, artefact, people and place for the visitor.

Reimagining and working with existing built fabric is an essential skill for any capable architect. This task becomes more difficult 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 rework the forgotten, the discarded, the overlook and the neglected to indeed … make things better across a range of scales … whether element, room, street or village.

The village of Bushmills in Antrim was chosen for

Architecture at Queen’s

173.

1.

1. William Brady - Adapting and Reimagining the Window: Housing for the Elderly, Bushmills

174.

Master in Architecture (M.Arch) - In Praise of Adaptation

2.

2. James McAuliffe - Adapting and Reimagining the Room: The Shoemaker Bar, Castleisland

Architecture at Queen’s

175.

1.

1.

1. Charles Monaghan - Adapting and Reimagining the Street: Façade as Portico, Main Street Bushmills

176.

Master in Architecture (M.Arch) - In Praise of Adaptation

2.

2. Aaron Vinaccia - Adapting and Reimagining the Village: Housing in Bushmills

Architecture at Queen’s

177.

1.

1.

1.

1. Hollie Lake - Armagh Story Telling Academy: A Shared Canopy and Hearth

178.

Master in Architecture (M.Arch) - In Praise of Adaptation

2.

3.

3.

2. Matthew O’Neill - Acadamh Seanchaithe Ard Mhacha: Armagh Story Telling Academy 3. Sofia Binti Mohd Nasir - Armagh Story Telling Academy: Translating the Mythic

Architecture at Queen’s

179.

BUSHMILLS: A NEW VILLAGE CENTRE JAMES McAULIFFE Derived from observations in place, Bushmills, a village in north Co. Antrim, is the setting from which this thesis is founded. Once a thriving village, Bushmills, like many of our rural settlements, has now been relegated to a place of only occasional visit. This thesis therefore critiques the influences of such change on the spatial experience of the small-town streetscape for resident and visitor.

The design proposal seeks to create an engaging spatial sequence, re-orientated to the human condition. Learning from the work of those such as Jan Gehl, Gordon Cullen and Edward Hall, the narrative of the ‘space between’ has been (re)considered to create careful moments of experience, from which the community can begin to re-engage with their town’s historic core.

180.

Providing new housing, workshops and communal facilities by reimaging the underused, derelict and abandoned at the centre of the village, the proposal also reconnects the river to the Main Street, thereby extending the realm of the pedestrian. The project is a critical response to the existing qualities inherent, not only to Bushmills, but to many rural towns on the island.

The work is consolidated through the formation of a design guide, derived as a direct response to the overlooked challenges that our rural communities face.

The guide offers a new tenet on the role of adaptation and conservation in the rural town. It is intended to emphasise the importance of engaging spatial narratives which, in turn, create locally distinctive places that can become more attractive and viable alternatives to our larger urban centres.

Master in Architecture (M.Arch) - In Praise of Adaptation

Architecture at Queen’s

181.

KINBANE: CURATING THE HISTORIC LANDSCAPE WILLIAM BRADY At the mercy of the Atlantic, upon a chalky headland, lies a cluster of ruins that are a ghostly visage of the past. Set within these, my proposal consists of a set of interventions that curate this historic landscape, providing an opportunity to celebrate the beauty of nature and the area’s unique cultural importance, through moments of pause and reflection.

As you descend the cliffside to the heart of Kinbane, retracing the pilgrimage taken by the generations of the past, your pace slows to a stop as you glimpse for the first time, the story of Kinbane. Signs of passage underfoot take you to the Salmon Fishery, where there is a celebration of the industry that thrived for centuries under the shadow of the cliffside. A reroofed cottage

182.

offers shelter and accommodation from the elements for weary adventurers. Then as you continue and skirt around weathered hillocks, the crowning feature of the area reveals itself. Kinbane Castle hangs perilously over the rocks below, but a new staircase and path will now provide the opportunity for interaction with it. A step beyond takes you to the castle edge and retraces the corner long fallen to the waves below.

Beyond the castle, a new layer of time is added to the site on virgin land in the north bailey, bridging the enclosure to the rising headland. A slow rise behind a new sloped wall embraces the limestone undulations, taking you on a journey that allows you to pause and immerse yourself into the glory of the landscape that is Kinbane.

Master in Architecture (M.Arch) - In Praise of Adaptation

Architecture at Queen’s

183.

NEW ORDER M.ARCH Students

Staff

MArch 1; Darcy Carroll; Shauneen Cavanagh, Kayleigh Colgan, Ellen Dunlop, Alex Knowles, Beth Mogey, Aquiles Roman Serrano & Bo Xiong.

Catherine Blaney & Dr. Colm Moore.

MArch 2; Ellen Cassidy, Anna Crew, Katie Jackson, Lara Magee, John Moran, Nicola Moran & Jia Xuan See.

With thanks to Laura Evans (KSA, Howell and Evans Architects), Ryan Kennihan (TUD, Ryan W Kennihan Architects) & Andrew Clancy (KSA, Clancy Moore Architects).

1.

1. Darcy Carrol - Analytique, Palace of Justice

184.

Master in Architecture (M.Arch) - New Order

“Architects don’t invent anything - They transform reality” - Alvaro Siza This year we were interested in examining the idea of construction in the making of architecture.

Making things is difficult and increasingly so when construction, the production of yet more stuff, the modus operandi of our profession, has becoming ever more ethically fraught.

Before a building can be constructed in the world it is constructed in our minds. In this regard the constructing and construing of architecture can be found in its assembly and detail. It is in this process, the making up of the building - its imaging into being where we set our studio for the coming year. In doing so we wish to explore the various sites of a projects construction, both real and fictional.

A building in its imagined state is a projection, a throwing forward of something that does not exist. All too often the process of constructing architecture is considered a trajectory that starts with the poetic conception of a sole author which is then substantiated subsequently on site in construction. The expression of the building, its language, becoming merely a vehicle for the articulation of a concept. We wish to explore this

Architecture at Queen’s

process as something more nuanced where the poetic conception is tempered and triggered by construction practices and the various contingencies, sociopolitical and personal, that bear upon a projects development. In this process “The dream is triggered by the Substance” and agency is found in the matter of things. With this skill the dream, the imagined, becomes reality.

This act of making is not deterministic but is instead a sort of making do. This begins with what is to hand - a territory which in the first instance is both physical, the real site, and imagined in the architects personal spatial history. Returning to Alvaro Siza when discussing making a survey states it is pointless to show everything, any fool can measure all of the details. Instead he sees the survey as a rectification or reconstruction of the place though a particular lens. Thus we see the project as gathering its valency not through an internal monologue but instead being constructed in conversation with the world.

In this regard making things becomes an intensively collaborative act. Our studio is intended as a place where conversation acts as a design tool. The theme is intentionally broad such that each member can define their own place within it.

185.

1.

2.

1. Bo Xiong - Invisible Cities 2. Alexander Knowles - Archiving the Troubles

186.

Master in Architecture (M.Arch) - New Order

3.

3.

3. Shauneen Cavanagh - Historical Collection Archive

Architecture at Queen’s

187.

0

2 km 1 : 100 000

1.

1.

Exploded axonometric Archive Design

1. Kayleigh Colgan - Into the Labyrinth Exploded axonometric of calli and archive rooms

Scale: 1:200

Axonometric of Archive in Context

188.

at scale 1:250

Master in Architecture (M.Arch) - New Order

2.

3.

3.

2. Ellen Dunlop - The Loved One 3. Beth Mogey - City of Djinn

Architecture at Queen’s

189.

FENLAND BRICKWORKS AND WORKERS COTTAGES ELLEN CASSIDY Through the initial study of the novel ‘Salt’, an interest in the particular landscape of the Norfolk Fens was developed. This ambiguous, flat landscape is vast and engulfed by the sky above. In such a landscape, silhouette and composition are significant, as figures mark a seemingly never-ending horizon. Giorgio Morandi was obsessed with the space created when figures where composed together, painting and repainting these objects to understand and study the space between them. The study of these paintings revealed an underlying interest in the composition and form of architecture as figures, and the charged space created ‘in between’. This thesis explores an attitude toward composing figures in a landscape, their silhouettes and spatial relationships.

The design of a Fish Smokehouse and Cottage emerged from the text and encouraged the desire

190.

to compose tall figures together on the horizon. A Brickworks and Workers Cottages developed as a continuation of this desire and the triangulated site plan, following the natural infrastructure of the ground allows the composed chimney figures act in parallax with each other. A measured reading of a position in the landscape is revealed in the changing relationships between the chimney figures as you move around them.

The proposed Brickworks is situated as an additional piece of infrastructure in the process of reclaiming the land from the sea. Using the marine clay dredged from the waterways in the production of bricks, the proposal instils an industry created from the ecology of the landscape. The use of brick in the project itself, grounds it in the landscape, while evoking delight in the detail and presence of the material.

Master in Architecture (M.Arch) - New Order

Architecture at Queen’s

191.

FIGURES OF DISSENT: THE UPPER AND LOWER HOUSE ANNA CREW The project is a re-imagining and undoing of Parliament Buildings at Stormont. The found language of the building, and the axis and ideals that it projects, are entered into as one half of a critical dialogue.

This is achieved by the deletion, intervention, and insertion of structural and spatial figures, which act to inhabit and disrupt the pervading ideals of the old order. These figures share a kind of intonation, rather than any strict commonality of language, material, or system. Each uses the found-language of the existing to anticipate or imply an order, and then acts to refute it.

The stone is stripped from the elevation and enacted as

192.

a new civic landscape within the building.

A senate space is introduced, figuratively rather than by executive function, to permit a moment of civic space, a piece of city, along a choreographed route to the proposed commons chamber.

These spaces are then ‘made-stange’, in the Brechtian sense, by the staging of selected theatre pieces; recasting the spaces and the social order they impart as equally indulgent of their own constructedness, just as the figures that permit their production.

Master in Architecture (M.Arch) - New Order

Architecture at Queen’s

193.

A rc 7 0 25 M Arch Studio 4 Final Presentatio n Po r tfolio A hotel fo r the City Katie Jackson 40152278

FROM SIENNA TO DUBLIN; AN INVESTIGATION IN THE PICTURESQUE KATIE JACKSON This thesis research began with a study of the book A Month in Siena by Hisham Matar, which is the encounter between the writer and the city through an immersion in painting. This focused the research into Siena, the medieval city and the picturesque through an exploration of Sienese paintings and architecture.

This thesis project is a hotel for the city in Dublin, that is grounded in the picturesque sensibility. Capel Street is a complex site with a deep plan in a dense landscape. It was a challenge to the conventions of architecture. Light is carved through the building using light wells and light objects.

The research led to the study of Giotto, an Italian painter and architect, studying the mini architectures or aediculas in his paintings. This became a way in which I could design into a piece of city fabric through aedicules and picturesque moments.

The light objects are aedicules, the mini architectures held within the hotel. The thesis it is about making architecture that can exist at all scales and about how one might design space, as a painter would compose a painting with a picturesque sensibility.

194.

Master in Architecture (M.Arch) - New Order

Architecture at Queen’s

195.

CONSTRUCTING A LANDSCAPE IN TIME JOHN MORAN It is by understanding the natural formations of landscapes that we will have the largest impact in using the smallest footprint. In the passing of time, both man and nature become the singular author of the subsequent landscape.

Situated on the north coast of Cornwall, the project concerns the calibration of the edge and the construction of a landscape. Stemming from a response to bunker architecture across the Atlantikwall, the use of ferrocement construction introduces a theoretical conversation about the relationship between the varied permanence of architecture and the moving ground.

196.

The authorship of time and landscape is acquired through a consciousness within the design process to anticipate the conversation between the man-made and natural. The further we deepen this connection, the further we benefit both the environment and the social and cultural functions of coastal communities.

In understanding the lifespans attributed to different materials and connections, the proposal of interventions placed incrementally in collaboration with the shifting ground enables the consequent construction of a landscape and a modern attitude towards architecture’s relationship with the natural world.

Master in Architecture (M.Arch) - New Order

Architecture at Queen’s

197.

MAKING GROUND NICOLA MORAN The project was about a dialogue between past and present. The overlaying of historic maps and using these maps as a design tool to divide the site into areas of enclosed spaces. The concept was that of walls overlayed onto topography and that topography was controlled by cuts that were about drainage and surface increment. The drainage channels and walls did not have to be aligned.

The function and use of the site were discovered in the space created between the cuts in the ground,

198.

but in a pragmatic condition that allows the site to function as a bus station, market square, car park, and a landscape that connected the site to the river’s edge again.

It was the space between that created engaging moments in the landscape that formed rooms an openings without the need of an architectural building. The enclosed walls are both a landscape without a horizon and a room without a ceiling.

Master in Architecture (M.Arch) - New Order

Fragment model market Walls - detail Walls / sink scale 1:20

Fragment model elevation Sink / Water trough Scale 1:20

‘Architecture Determined not by the whole but by the part.’

Architecture at Queen’s

199.

TECHNOLOGY & ENVIRONMENT M.ARCH Module Co-Ordinator Dr. Niek Turner Staff Clare Mulholland, David Magennis, Aoife McGee & Chris Upson.

With thanks to Rachel Bevan (Bevan Architects), Edith Blennerhassett (ARUP), Peter Brunner (Brunner Consulting Engineers), John Burgess (ARUP), Rory Caithness (Caithness Architects), Dr Andy Jenkins (TU Delft), Dr. Oliver Kinnane (UCD), Mark Todd (Mark Todd Architects) & Jamie Wallace (Wallace Liu).

1.

1. Aquiles Román Serrano & Alexander Knowles - Forvik Ferry Terminal, Manthey Kula

200.

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 and is instead envisaged as a product of critical engagement with the precedent.

Architecture at Queen’s

2.Critical Environmental Reflection Following the precedent analysis, at the beginning of second semester in studio groups the students undertake a short intensive critical research project.

This project focuses principally on environmental concerns which and is related specifically to your individual studio units interests for the year.

3.Individual Project The third 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 QUB 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 MArch 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.

201.

1.

1. Danny Bittles, Matthew Graham & Kavya Saghal - Flotta Oil Terminal & Crude Oil Tanker

202.

Master in Architecture (M.Arch) - Technology & Environment

2.

3.

2. Karthic Vivehanan & Ewa Cichon - Melsetter House - William Lethaby 3. Ciara Higgins & Rhys Carson - Gallery of Malmö Saluhall - Wingårdh Arkitektkontor

Architecture at Queen’s

203.

1.

1.

1. Into the Labyrinth - Kayleigh Colgan

204.

Master in Architecture (M.Arch) - Technology & Environment

2.

2. Rachel Aitcheson - Riddel’s Warehouse

Architecture at Queen’s

205.

1.

2.

1. Alexander Knowles - Archiving the Troubles 2. Karthic Vivehananthan - Agricultural City

206.

Master in Architecture (M.Arch) - Technology & Environment

3.

3. Bo Xiong - An Urban Archive

Architecture at Queen’s

207.

HUMANITIES DISSERTATIONS M.ARCH Module co-ordinator

diverse themes such as political-economy, culture and society, environment and technology, community and identity, ethics and aesthetics.

Dr. Mark Mukherjee Campbell Staff Dr. Laura Coucill, Dr. Gul Kacmaz Erk, Prof. Greg Keefe, Dr. Jasna Mariotti, Mr. Keith McAllister, Dr. Chantelle Niblock & Prof. Tom Jefferies.

With thanks to Miss Irene Bittles, Dr. Jonathan Charley, Prof.

Kathleen James-Chakraborty, Mr Stefan Curran, Dr. Ray Lucas, Prof. Brendan Murtagh, Prof. Johnny Rodger, Prof. Ashraf Salama & Dr. Magda Sibley.

The Humanities Dissertation module presents students with the opportunity to undertake a piece of advanced academic research and writing on a topic RURAL-URBAN MIGRATION: A STUDY INTO THE INFORMAL SETTLEMENTS OF MIGRANT WORKERS IN KOLKATA in the Architectural Humanities.

It involves in-depth A study centred onwith how rural-urban migration shapes informality engagement histories and theories of urbanism, and patterns of urbanism within Kolkata, India. The research is intended to help urban planners, planning organisations, architecture and related disciplines and straddles and non-governmental organisations (NGOs) understand how migrant workers occupy spaces in the city and the factors influencing their migration.

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: future cities; migration, home and displacement; infrastructural landscapes; the invisible dimensions of cities; mass housing; global flows and the production of space; the role of ideas in architecture; and superorganism cities.

The module was also supplemented by a guest lecture series on research methodologies and critical reading seminars.

AARJAN BISTA

1.

1. Aarjan Bista - Rural-Urban Migration: A study into the informal settlement of migrant workers in Kolkata

208.

Master in Architecture (M.Arch) - Humanities Dissertations

The Crumbling Bastion of Fortress Europe:

The Crumbling Bastion of Fortress Europe:

Alexander Knowles (No. 40312057) Humanities Dissertation Queen’s University Belfast School of Natural and Built Environment 7th May 2021

Figure 1 ‘Liberty’ flying a European flag as she leads the charge over a series of refugee life jackets to reach the Bastion. A symbol of fortress Europe protecting herself, regardless of the human cost. Source Author (Collage)

2.

1

MASS HOUSING AND The case of SENSE OF BELONGING San Buenaventura, ON THE OUTSKIRTS Mexico

3.

4.

5.

2. Alex Knowles - The Crumbling Bastion of Fortress Europe: Architectural approaches to migration in the European Union 3. Matthew Graham - Hybrid Histories of Hong Kong: Space, Housing and Urban Cultures 4. Aquiles Román Serrano - Mass Housing and Sense of Belonging on the Outskirts: The case of San Buenaventura, Mexico 5. Sofia Nasir - The Influence of Dojunkai Apartments on Tokyo’s Mass Housing

Architecture at Queen’s

209.

PROFESSIONAL SKILLS M.ARCH Staff

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.

Dr. Sarah A. Lappin, Laurence Lord & Alan Jones PRIBA. 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

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.

1.

1. Scaffold at Work

210.

Master in Architecture (M.Arch) - Professional Skills

2.

2. Guest Speakers for the Academic year 2020-2021

Architecture at Queen’s

211.

CONSTRUCTION PROJECT MANAGEMENT (CPM) and BUILDING INFORMATION MODELLING PROJECT MANAGEMENT (BIMPM) MASTERS Programme Staff

CPM Modules

Ron Coates, Stephen McIlwaine, Tara Brooks & Xianhai Meng

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)

About 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.

BIMPM Modules The CPM and BIMPM courses work together, sharing a number of modules and both having a focus on using Project Management tools to successfully deliver construction projects. Both courses combine practical, hands – on industry-oriented competency with higher level analytic skills.

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

1.

1. Interactive 3D Showroom - Emerging Digital Technology module

212.

CPM + BIMPM

Emerging Digital Technology Module During semester 2, this module held a virtual ‘design sprint’ (led by Tara Brooks and Myra Lydon), challenging the students to identify an issue in the construction industry and design a solution using disruptive digital technology.

Project Planning for Sustainability This module gives students a grounding in what ‘sustainability’ means in real life terms in relation to buildings and infrastructure projects, and how project managers need to identify the risks, challenges and opportunities at as early stage as possible.

It covers areas such as: project appraisal for environmental & social impacts; implications for project design, construction and operation; what climate change and net zero really mean for the built environment; the implications and opportunities of sustainable finance; environmental economics and the valuation of damages; circularising construction; and stakeholder engagement.

The module is assessed in a combination of individual assignments and project group work.

2.

2. Infrastructure Development Plan, Kujagali Island - Project Planning for Sustainability module

Architecture at Queen’s

213.

INTO QUEEN’S INTERNATIONAL FOUNDATION PROGRAMME IN ARCHITECTURE Programme Staff

Principles of Architectural Design and Practice and one other academic module.

Dr. Jane Rogers Students Basil Asim, Hok Chi Leung, Adhuna Mikkilineni, Jovan Levi Tanael, Shuyu Si & Takeki Tomonari.

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,

214.

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.

INTO

1.

2.

1. Takeki Tomonari - Carving the Section 2. Hok Chi Leung - Leading Lines

Architecture at Queen’s

215.

1.

2.

1. Shuyu Si - Observation and Perspective 2. Takeki Tomonari - Pavilion Design

216.

INTO

3.

4.

3. Jovan Levi Tanael - Observation and Perspective 4. Takeki Tomonari - Precedent Study Contemporary Arts Centre, Zaha Hadid

Architecture at Queen’s

217.

1.

1. Jessica Scott - Liquid Assets

218.

MSc Advanced Architectural Design

NEW MSc IN ADVANCED ARCHITECTURAL DESIGN DR. GUL KACMAZ ERK PROGRAMME DIRECTOR MSc Advanced Architectural Design is a new programme for engaged students who would like to make the most of their time at Queen’s.

It is an innovative and personalised course for enthusiastic people with an undergraduate degree in architecture who wish to explore future opportunities in architecture, urbanism, design and creative industries. It encourages students to work both within and beyond the realm of conventional architectural practice, pushing the boundaries of their imagination and of architectural media.

MSc students will work on modules including design, humanities and technology, questioning norms in architecture throughout. They will complete a major thesis project with a self-directed topic and methodology. They will be able to use the thesis as a means to experiment with new ideas, technologies and media, and as a gateway to future plans. The course encourages lateral thinking, problem solving, creativity and engagement with design in a selfcritical process. It will address issues as diverse as our survival on the planet and alternative ways of thinking about what architecture can be and do. The MSc is interdisciplinary and inclusive by nature.

The course will take place on our Belfast campus celebrating its 175th year with people from around the world designing, collaborating and producing.

Belfast is a growing city known for its industrial design heritage, and its vibrant arts culture and creative industries. Students will enjoy a healthy staff to student ratio, good studios where they will

Architecture at Queen’s

have their own space and excellent workshops for physical and digital manufacturing.

Now, more than ever, our societies demand innovative designers and creative problem solvers to propose solutions to the challenges we face in a complex contemporary world - health and well-being, climate change, forced migration, public safety and increasing urbanisation, among others. Our school is renowned for award-winning, innovative research and teaching that is academically rigorous, critically informed and design led.

The MSc is a studio-based programme, underscoring design and design processes as the core concerns, challenging our students to be experimental both in their design methodologies/analyses and their architectural proposals. The staff cohort is composed of a diverse spectrum of esteemed practitioners and innovative academics supported by external consultants beyond Queen’s, providing a further dimension to a rich learning environment.

MSc students who decide to complete RIBA Part 2 will have the opportunity to apply to go straight into the second year of the MArch at Queen’s.

For details: http://go.qub.ac.uk/archdesign Social media: Instagram Facebook Twitter

219.

1.

1. Shing Man Yiu - The Renewable Energy Landscape of Mourne

220.

MSc Future Urbanism

MSc FUTURE URBANISM PROF. TOM JEFFERIES PROGRAMME DIRECTOR What could net-zero carbon cities look like and how might digital technologies alter spatial occupation and use patterns? What is the future the high street, food production and tourism?

These are some of the questions explored in Future Urbanism - a leading-edge design research forum which develops, critiques and communicates ideas of place, environment, culture, technology and sustainability to define the limits of contemporary and future lived space.

Future Urbanism offers an MSc and Future Landscape Architecture PGCert qualifications.

We also welcome PhD applications from anyone interested in developing and applying design thinking as a mechanism for addressing multidisciplinary spatial challenges.

Northern Ireland is our test bed for globally relevant issues. Project-based studio work enables us to investigate and explore design responses to urban challenges including the climate emergency, productive landscapes, advanced digital communications and intelligent space. Our approach blends situationally located fieldwork with

Architecture at Queen’s

on-site and on-line learning through applied design.

Professional, international and multi-disciplinary collaboration with industry and organisations exposes new understandings of complex challenges and provides meaningful and testable outcomes.

This equips graduates with extensive skillsets suited to a range of career trajectories.

Recent collaborative projects have explored; • international experiences and iterations of lockdown urbanism • digital farming, communications infrastructure and intelligent space • futures of food, production, retail and domesticity in the climate emergency Applications to Future Urbanism are welcomed from the fields of landscape architecture, architecture, urbanism, digital futures, environments and policy.

We welcome anyone interested design thinking and testing. To make an application, or for further information, please visit our course pages:

Future Urbanism Future Landscape Architecture

221.