ArcSoc Summer Exhibition 2011 : University of Cambridge

The Department of Architecture Faculty of Architecture and History of Art University of Cambridge 1-5 Scroope Terrace Cambridge CB2 1PX UK www.arct.cam.ac.uk

Welcome to the catalogue for 2010-11. It has been an exhilarating year, primarily due to the initiative and creativity of quite an extraordinary cohort of students. The idiom of “work hard, play hard” is particularly apposite: very effective fundraising initiatives (parties) organised by the students generated a budget that made the end-of-year exhibition in London possible, whilst also creating a strong entrepreneurial and community spirit in the department. At the same time, the overall quality of student work this year is better than it has been for many years. The scale, complexity, subtlety, and detail reveals a sophistication that is palpable in the models and drawings, and the success of the work is reflected in the comments and grades awarded by the external examiners. The exhibition and this catalogue will give you a flavour of the spatial, tectonic and environmental explorations and a hint of the intellectual rigour and academic research that underpins them.

The accomplishment of the student work is to a large extent thanks to the commitment and skill of the studio teachers, and we are very lucky to be able to appoint such pioneering practitioners and skilful design teachers. We are sad to say goodbye to three of them: Meredith Bowles, Jay Gort and Piers Taylor have been Design Fellows running very successful studios in third year for 3 to 6 years. We wish them every success in their new ventures.

This year we received confirmation that the RIBA has validated our new Part 2 course, the MPhil in Environmental Design, which means that we have a full complement of RIBA/ARB Part 1, 2 and 3 professional degrees. Elsewhere our graduate and postdoctoral community continues to expand, with numbers exceeding undergraduates, building on our top ranked research and initiating high profile conferences and events.

Next year promises to be just exciting as we plan launch a Yale-Cambridge student exchange programme, announce our new Visiting Professorship in Sustainable Urban Design, and appoint a Mellon Fellowship in Architecture and Land Economy.

I wish this year’s 3rd year every success for their future: they have made waves here and I suspect they will continue to do so.

Professor Koen Steemers, Head of Department

Edited by Ishbel Mull and Oliver Partington Printed by Ex Why Zed, www.exwhyzed.co.uk

The scale of The Dairy, our new venue, provided challenging opportunities that provoked ambitious curation from the team; bringing more work to London than ever before and celebrating the Department's strengths and its dedication to forward thinking design with a strong grounding in theoretical and historical studies and a critical approach to built form and its environments. We must thank Mary-Ann Steane for creating such a constructive happy and helpful dynamic in the undergraduate studio.

Thanks too, to all the studio teachers for their guidance and support. In particular we would like to thank Koen Steemers, head of department for his creative support for stuent endeavor. The exhibition has been financially dependant on a series of fundraising parties around Cambridge and within department. The gras will grow back and our gratitude to everyone in the department still stands.

The generosity of our material and financial sponsors is hugely appreciated and without them the exhibition would be impossible.

Thank you very much indeed. Stan Finney, Alan Baldwin and Clive Tubb our support staff and friends; their concerted efforts, support and patience has been a delight.Most of all we would like to thank the Students of 2011. It is their year of dedication and toil on display and they who curated, catalogued, built, accounted and negotiated. To lead such a brilliant group has been an honour, a pleasure and terrific fun, thank you.

Eleanor Hill, Tom Leahy, Isabel Perry Heads of Exhibition 2011

YEAR 1 Tutors: Julika Gittner ,Tom Housden, Pippa Nissen, Freddie Philipson, Ingrid Schroder Students: Naomi Black, Joshua Bristow, Yoanne Chan, Song Eng, Felix Faire, Victoria Gramm, Sam Green, Matthew Gregorowski, Holly Gupta, Zahra Haider, Tom Hamilton, Seb Harrison, Will Haynes, Joe Hibbert, Rebecca Howe, Liusaidh Macdonald, Max Martin, Alisa Matjuka, Lydia Mills, Dominic MurrayVaughan, Laurence Neal, Lucy Norfield, Lara Orska, Nimesha Paranagamage, Andrew Percival, Rachael Roberts, James Rogers, Heather Rouse, Minty Sainbury, Sofia Singler, Chloe Spiby Loh, Sohanna Srinivasan, Fiona Stewart, Steve Sze, Sonia Tong, Yeshe Verhagen, Adam Walls, Frances Williams, William Woodhead, Emma Woodward, Oliver Young

AS FOUND

The overarching theme of the year was based around the concept of As Found, a term that implies realism, anthropological thinking and attention to context. This approach was used as a vehicle to build up the students’ ability to closely observe and question given situations and conventions whilst encouraging them to creatively recycle and re-invent ideas, materials and spaces. Through three main projects that increased in scale and complexity we developed observational, representational and design techniques and set out to explore the following questions: How do you find? How do you store what you find? And how do you display and communicate your find through architecture? Each project was sited in a different location, prompting the students to investigate and understand the impact of context to architectural design.

We started the year by discovering and examining patterns of everyday life as they unfold in public space.

In COLLECT the students were asked to identify ‘indigenous activities’ in Cambridge and to construct a vehicle for their collection.

This introduced the students to a wide range of investigatory techniques including mapping, orthographical drawing and allowed them to test their individual interpretation of the brief in the city.

STORE requested the students to design a hidden underground archive in Cambridge to house their indigenous collection in and encouraged them to investigate interior volumes and light through section drawings, collages and cast models.

The main project DISPLAY looked at the opportunities and conflicts generated by merging a theatre and an exhibition space to a new type of cultural venue- a ‘Museum of Movement’ - and challenged the students to integrate their designs into the culturally diverse urban context of Dalston. Physical and social context, public interaction, disposition of space, construction and materiality were explored through site videos and models as well as sequential, orthographical and detail drawings

Laurence Neal & Chloe Spiby Loh, Matthew Gregorowski & Emma Woodward, Oliver Young & Nimesha Paranagamage, Joshua Bristow & Sonia Tong

Joshua Bristow, Sohannah Srinivasan

William Haynes, Adam Walls, Samuel Green, Laurence Neal

Sohannah Srinivasan, William Woodhead, Max Martin, Matthew Gregorowski

Oliver Young, Minty Sainsbury

Joe Hibbert, Seb Harrison, Francis Williams

Samuel Green, Nimesha Paranagamage, Rachel Roberts, William Haynes

Lara Orska, Nimesha Paranagamage, Adam Walls

Chloe Spiby Loh, Emma Woodward, Fiona Stewart

Sonia Tong, Dom Murray-Vaughan

Samuel Green, Joe Hibbert, Joshua Bristow, Rebecca Howe, Yoanne Chan

Joe Hibbert, Matt Gregorowski, Lucy Norfield

Y2 S1 INTO THE VOID

Tutors: Miraj Ahmed Gregory Ross Students: Sebastian Bailey Natalie Carder Robin Farmer Claudia Fragoso Jenny Gutteridge Andy Hales Thomas Hart Joanna Hyland Eva Johnson Stephen Massiah James Smith Ben Strak Bob Winslow

“The line between art and life should be kept as fluid, and perhaps indistinct,as possible.” Allan Kaprow “A gallery is constructed along laws as rigorous as those for building a medieval church. The outside world must not come in, so windows are usually sealed off. Walls are painted white. The ceiling becomes the source of light. The wooden floor is polished so that you click along clinically or carpeted so that you pad soundlessly, resting the feet while the eyes stare at the wall.”

Brian O’Doherty ; Inside the White Cube, The Ideology of the Gallery Space Allan Kaprow’s statement made in the early 1960s exemplifies an attitude that prevails in the way that many artists work today but jars with the way that art is treated and viewed in the design of galleries. The art gallery is often generic, hermetic, timeless and precious with no real contextual relationships between art and place.

Studio 1 has been exploring the latent potential of the spatial void that is the art gallery. A void continually filled with ever-changing art work that represents contemporary culture but does little to establish a direct dialogue with a context beyond the hermetic curatorial space – except perhaps the media coverage that might follow art shows.

The studio explored the production and dissemination of art and investigated the dense and layered fabric along the Regents Canal in the east of London. Projects took advantage of the canal side locations whereby water became a valuable asset to the making and display of art. Propositions involve the local community as well as the rich arts infrastructure of the area and provide spaces that both connect with and challenge their locale while transporting the imagination elsewhere.

Jennifer Gutteridge, Robert Winslow, Robin Farmer

Benjamin Strak, Joanna Hyland, Claudia Fragoso

Jennifer Gutteridge, James Smith, Claudia Fragoso, Benjamin Strak, Sebastian Bailey, Robin Farmer

Robin Farmer, Thomas Hart

Joanna Hyland, Andrew Hales, Natalie Carder, Sebastian Bailey, Robin Farmer, James Smith , Benjamin Strak

Y2 S2

RUESIDUAL DOMAINS

Tutors: Nikolai Delvendahl Eric Martin Students: Hannah Baker Paddi Benson Daniel Curless Jenny Greveson Eleanor Grierson Paul Hicks Rosalijn Jones Johnny Lui Jennifer Maier Marther Rawlinson Nadia Sanchez-Martin Kyeong Hee Seo Joseph Smith Nicholas Tsao

This year saw the continuation of an informal study that started last year in Studio 2, exploring the potential of interstitial sites that are a result of major pieces of infrastructure cutting through the existing city grain. Incisions made by bridges, viaducts, and rail tracks invariably generate leftover spaces that are difficult to render as usable due to issues of ownership, maintenance or physical constraints. But on closer inspection and especially when located within regions of urban intensity, these stretches of void activity can be seen as opportunities to re-establish relationships long severed or establishing new ones by taking advantage of the confluent nature of these circumstances where two or more systems meet at one point. This year we chose Regent’s Canal as both the area of study and infrastructure.

The sites for the two projects developed this year are located in the vicinity of Whitmore Bridge, where the canal passes though the London Borough of Hackney. This area still maintains a fair amount of its industrial character and is home to one of East London’s most culturally varied communities, characteristics that emerged as reference points at the research stage and crucially articulated the thinking behind most of the proposals. The work was also informed by a survey of urban responses to water edge conditions during a study trip to Venice.

The first project -a new public link- served as a scoping exercise and preamble for the main project, which was located on the facing side of the canal. The brief for the latter was inspired by one of the local boating clubs and evolved into a community centre based on canal activities such as narrow boating and kayaking. The resulting projects illustrate an engaging variety of scenarios of how the current trend of residential developments could be enriched by introducing other more site-specific typologies along the canal edge.

Johnny Lui, Nadia Sanchez

Jenny Greveson, Eleanor Grierson

Hannah Baker, Rosy Jones

Nick Tsao, Paul Hicks

Paddi Benson, Johnny Lui

Y2 S3 URBAN WATERWAY

Tutors: Sarah Hare Stephen Smith Students: Mathew Bailey Hafsa Bell Alexandra Butterworth Emily Carmichael Kaiyil Gnanakumaran Richard Green Jessica Jupp Katherine Nolan Ebanie Powell Shocichi Sado Tomas Schular Pradeepa Sivasanthiran Miranda Stern

When Regents Canal was built, tow paths were only required on one side, on the other warehouse walls would plunge straight down into the water, using all the space available and creating a hard urban junction with the water. The detail is robust and direct making simple utilitarian buildings and landscape features. Due to their isolation and particular function they have developed an architectural language of their own. Making the canals public is putting this character into question. By looking at the canal as an open green space as well as a dense urban location, the studio has considered what is appropriate to keep, reinforce or cultivate, and what needs to change in order to make the place more open to the people who live there, without destroying what is special.

Working at the scale of a ‘House’ and a ‘Palazzo’ the studio has explored the particular conditions of the canal in two projects; an artist’s studio at the lock near Broadway Market and a music venue adjacent to the gas works.

In December we visited Snape Maltings with architect Steve Tompkins, engineer Sam Price, and acoustician Raf Orlowski to hear how they worked with the material and spatial qualities that the malthouses provide as spaces for the making and performing of music.

The relationship to landscape and the proximity to the water is an intrinsic quality of the site. By working with the existing character of the canal sites in Dalston, also rich in industrial heritage, the music venue brief suggested an alternative location to the established London music venues and was conceived to enable more people locally to participate, to encourage new audiences, young performers, school groups and others. Further precedent studies informed a discussion as to whether the performance space should be a refined space or something more raw depending on the acoustics desired.

As with the artist’s studio in project one, we explored how the various spaces would provide musicians the opportunity to engage or disengage with the canal and the city at different stages during the creative process.

Shoichi Saddo, Tomas Schular, Matthew Bailey

Hafsa Bell, Alexandra Butterworth, Katherine Nolan

Jessica Jupp, Miranda Stern, Richard Green

Kaiyil Gnanakumaran, Pradeepa Sivasanthiran, Matthew Bailey, Shoichi Saddo

Emily Carmichael, Richard Green, Alexandra Butterworth

Ebanie Powell, Hafsa Bell, Shoichi Sado

Y3 S1 Tutors: Jay Gort Nathan Jones Students: Jakob Benjamin Nadine Coetzee Sarah Cook Stephanie Crombie Alice Ferguson Thomas Geoge Andrew Gibbs Daniel Miodrag Ishbel Mull Heenali Petal Julia Phillipa Victoria Turton

The settlement of East Tilbury lies in the Thames Estuary, north of the river. Built from the 1930s onwards by Bata, the Czech shoe company, to provide factories alongside worker housing and community facilities, it is part of the long lineage of ideal towns built by industrialists eager to secure the mutual benefits of happiness and productivity.

East Tilbury today is a strangely dissonant place. Whilst parts of it are almost completely generic in their suburban quality, there is much that is extraordinary – a topography which includes a coherent collection of Modernist housing, and which is dominated by the scale and abstraction of its vast, empty factory buildings, poised on the edge the Estuary landscape. In the context of the inevitable decay of Bata’s utopian vision, Studio 1 set out to explore some possible futures for this unique place.

The studio has focused on speculative scenarios for the re-invention of the ‘Factory Gardens’ at the heart of the town. The existing factory buildings have an undoubted power - a sublime quality which is partly given by their decay and emptiness - but are threatened by inaction and the trappings of their architectural heritage. Some students have explored how these buildings might be re-purposed, whilst others have speculated how new buildings might play a catalytic role in the re-invention of the wider estate. The work of the studio is anchored by a wider context of change – which includes a recently-consented expansion of East Tilbury itself, and the imminent development of London Gateway, which will become Europe’s largest port, just along the A13 – and aims to consider the very pragmatic question of how to work with an economy of means. The resulting proposals - spanning a spectrum of scales, from region to room – aim to articulate an ongoing role for architectural imagination and innovation amongst the fragments of its former ambition.

Daniel Miodrag, Nadine Coetzee, Andrew Gibbs, Alice Ferguson, Ishbel Mull

Jakob Benjamin

Nadine Coetzee, Sarah Cook

Julia Phillips, Sarah Cook, Nadine Coetzee

Nadine Coetzee, Daniel Miodrag

Heenali Patel

Ishbel Mull, Heenali Patel

Jakob Benjamin, Andrew Gibbs, Nadine Coetzee, Ishbel Mull

Andrew Gibbs, Alice Ferguson

Thomas George, Ishbel Mull, Daniel Miodrag

Sarah Cook, Daniel Miodrag

Jakob Benjamin, Heenali Patel, Alice Ferguson, Sarah Cook, Stephanie Crombie

Y3 S2 UNDESIGN

Tutors: Ingrid SchrÜder Nuria Lombardero Students: Liam Ashmore James Edmunds Alastair Greig Eleanor Hill Thomas Leahy Laurence Lumley Finbarr O’Dempsey Oliver Partington Daniel Peacock Isabel Perry Louis Persent

This year Studio 2 designed towers for a site in central London located above the new Crossrail transport interchange at Tottenham Court Road Station. Our work is concerned with the apparent disjunction between the strategies employed in the design of tall buildings and those informing smaller proposals. While we understand the latter as responding to the nuances of materiality, inhabitation and context, towers seem to require an entirely alien set of design skills that prioritise formal expression and technical resolution at the apparent expense of a more subtle engagement with the everyday. Fundamentally towers are seen as vulgar. This year we opened our discussion to an interrogation of this vulgarity, questioning how these inflated buildings are fashioned, and exploring how they operate within an urban context. We have embraced the need to define a formal ambition from the outset, and we have used the material and structural strategies driven by this ambition to explore how these big moves shape space, and might come to accommodate an unexpectedly diverse range of programmes.

Given our location, our work has engaged with not just the site’s immediate surroundings, but also with the new connecting fabric of transport infrastructure beneath. This has prompted us to reevaluate what constitutes a ground condition and to welcome new versions of the experience of the city and interpretations of the public realm. The presence of Crossrail has given the project a degree of added economic viability, however this has not been our primary focus. While starting as a mixed-use / hotel / residential tower, each programme has been developed as a means of revealing new possibilities and new readings of the site.

The proposals work at three critical scales, that of the larger city and skyline, the programmatic arrangement and relationship to the immediate site, and the spatial qualities of a series of selected spaces or rooms within the buildings. Different preoccupations have driven each scheme and the areas of emphasis vary accordingly.

Louis Persent, Finbarr O’Dempsey

Isabel Perry

Thomas Leahy

Alastair Greig, Daniel Peacock

Louis Persent

Eleanor Hill, Alastair Greig

Liam Ashmore

Daniel Peacock

Laurence Lumley

James Edmunds, Oliver Partington

Finbarr O’Dempsey, James Edmunds, Oliver Partington

Oliver Partington

Y3 S3 RAW MATERIALS

Tutors: Piers Taylor Meredith Bowles Students: Jan Ali Joanna Barnes Chloe Fawcett Philippa Griffiths William Hardy Lara Kerrison Sebastian Lomas Viresh Patel Guy Rochez Greg Storrar Michelle Wu

For the third year in succession, Studio 3 have been working in Ely, in the fens north of Cambridge. This year we have been working in the heart of the city, designing a new civic building for the East Cambridgeshire District Council and a new town hall for Ely. We worked on 2 distinct sites: The market square in the heart of the historic fabric of the city, and a larger, more open grained site that bridged medieval fabric with suburban sprawl and needed a comprehensive strategic masterplan before any new intervention could be designed.

We worked with Turner prize nominated artist Tim Knowles on an introductory project allowing us to get under the skin of the fabric of the city and go beyond first impressions. We designed recording devices which inventively measured texture, terrain, and topography, before producing our own material analysis of the city, allowing us to experience and communicate the finer grained view of Ely. Before developing resolved proposals we a had deep understanding of the city at a range of scales.

Throughout the year we looked at reimagining what a new town hall could be - addressing issues of democratic transparency and public accessibility in an age of political accountability and localism. We also examined how issues of sustainability could inform decisions about building plan and form, and how different structural systems might be called on for a variety of non domestic scale spaces.

Final proposals demonstrated how new interventions need not be meek or apologetic to belong in a rich medieval context, how the informal and personal could sit alongside the formal and collective, how public life could be accommodated in a government building, and how crafting beautiful spaces can be carried out on local authority budgets with everyday materials.

Philippa Griffiths, Chloe Fawcett, Guy Rochez

Lara Kerrison, Sebastian Lomas, Greg Storrar

WilliamHardy, Philippa Griffiths, Sebastian Lomas, Viresh Patel, William Hardy, Joanna Barnes, Viresh Patel, Joanna Barnes

Jan Ali, Greg Storrar, Chloe Fawcett, Philippa Griffiths, William Hardy, Michelle Wu

Guy Rochez, Lara Kerrison, Michelle Wu, Joanna Barnes

Greg Storrar, Jan Ali

Joanna Barnes, Michelle Wu, Guy Rochez, Philippa Griffiths, William Hardy

Guy Rochez, Viresh Patel, Jan Ali, Philippa Griffiths

Sebastian Lomas, Guy Rochez, William Hardy

Lara Kerrison, Jan Ali, Joanna Barnes, Viresh Patel, Chloe Fawcett

Jo Barnes, Viresh Patel

This has been an incredible year for ARCSOC. The scale, quantity and ambition of all our endeavours have only been possible due to the commitment of our current committee and ARCSOC members.

Our Life Drawing team worked hard to prevent the discontinuation of classes by bringing them back into the department.

The Design Charette, organised by Spencer De Grey, gave the opportunity for collaboration between years.

ARCSOC Talks have organised a series of high calibre guest speakers ranging from high profile Architects and Theorists to recent graduates.

The Ents Team have done an incredible job hosting two very successful Cabarets as well as other events throughout the year. These efforts have enabled us to move our 2011 Exhibition to an exciting new venue to mark our fourth London show.

There are many achievements and efforts that I haven’t mentioned above, but the enthusiasm of ArcSoc 2010-2011 has meant that the year has been an exciting and thoroughly enjoyable time.

Thank you and good luck for next year.

Oliver and Nadine

TALKS This year we have been very privileged to host a variety of interesting speakers within the broader field of architecture. The talks have both inspired the studio work going on in the department as well as showing the scope of opportunities available beyond conventional practice, extending the net outside the limits of Cambridge to architects from London to Basel. The talks this year have featured, and we would like to thank, Studio Weave, Glowacka Rennie, vPPR, the Klassnik Corporation, Sara Muzio, Simon Frommenwiler (HHF Architekten), Nathan Dunne, Niall McLaughlin, Rod Heyes (Caruso St. John), Renzo Piano Studio, Kate Darby, Florian Beigel and Philip Christou (ARU), 815agency, Daisy Ginsberg and House of Jonn.

LIFE DRAWING ArcSoc’s weekly life drawing classes provide a break from studio work, allowing time to concentrate solely on drawing and capturing form. The sessions are led by local artists or occasionally by ArcSoc committee members themselves.

Therefore the class is directed, but variation in materials, pose and length of drawing are all encouraged. We aim to provide an opportunity for ArcSoc members to strengthen their drawing skills and explore different mediums and methods; this can then inform architectural drawings. There has been some difficulty with funding this year due to university cut-backs, but we are determined to keep life drawing as an integral part of ArcSoc.

ENTS The whole department has united this year to host two spectacular cabarets and numerous club nights to raise money. We have combined our developing architectural understanding to decorate the Architecture Department according to the nights ‘CORNUCOPIA’ and then ‘DYSTOPIA’, with many hundreds of people coming to experience the spaces and the events taking place there.

Our resident djs have been joined by many others, as well as dancers and performers to offer parties that draw people even from outside Cambridge. These events have been a vital source of fundraising this year, as have the nights held at a Cambridge club about three times a term. We have a growing reputation as an Ents team and are very much looking forward to next year’s fun and fundraising.

THE SOUTH BANK DESIGN CHARRETTE 2011

LED BY SPENCER DE GREY: JANUARY 28TH - JANUARY 31ST 2011

Since 1950 many cultural facilities have been developed on the South Bank of the Thames, but this has been a rather random process. The concept of cultural buildings on this bank of the river goes back to the 16th and 17th centuries.

London is currently one of the pre-eminent, if not the pre-eminent, cultural city in the world and many of the buildings south of the river reflect this preeminence. Students are invited to investigate the physical setting for these important venues. How could the setting be improved, made more coherent and reflect the incredible significance of the institutions themselves?

Looking at the stretch of the river from Vauxhall Bridge to Tower Bridge, the students where asked to devise a broad strategy for the infrastructure, the space between buildings, the landscape and even new buildings? The Charrette took place over a weekend beginning with a lecture by Spencer De Grey on the ‘Public Realm’. The students worked intensively in groups comprised of both undergraduates and diploma students.

Aylesbury, Banbury and Birmingham

Aylesbury

Milton Keynes, Northampton, Rugby, Coventry, Birmingham and the North West Watford North

Amersham

HIGH WYCOMBE

Watford

WATFORD JUNCTION

Park Street

Bayford Cuffley

Hadley Wood

Seer Green & Jordans

Watford High Street

Croxley

8

Bushey

Ickenham

Ruislip Manor

Ruislip

Northwick Park

South Ruislip

Sudbury Hill

South Kenton

Harrowon-the-Hill

South Harrow

Northolt Park

Harlesden

Finchley Road & Frognal

Belsize Park

Queen‘s Park

Swiss Cottage

Warwick Avenue

Drayton Green

West Drayton

Langley

Hayes & Harlington

Southall

Ealing Broadway

Westbourne Park

Ealing Common

East Acton

White City Wood Lane

Kensington (Olympia)

and NOT at all on Heathrow Express.

South Acton

Northfields

Osterley Boston Manor

Railair coach link with Reading

South Ealing

Acton Town

Turnham Green

HEATHROW Terminals 1, 2, 3

Heathrow Terminal 5

Southwark

R a i la i r c o a c h li n k

Tower Gateway

Oval

link

bus link

Wandsworth Road Clapham High Street Clapham North

Wandsworth Common

Earlsfield

Kempton Park

WIMBLEDON Fulwell

Dundonald Road

Raynes Park

Teddington

6

New Malden

Hampton Wick

Kingston

Motspur Park

Norbiton

Sydenham Hill

Penge East

Shortlands

Morden Road

Crystal Palace

Streatham Common

Mitcham Eastfields

Belgrave Walk

Morden

Malden Manor

Hampton Court Tolworth

Woking

West Byfleet

Byfleet & New Haw

Weybridge

Oxshott

Hinchley Wood Claygate

Sutton

Ewell West

Chessington North

Waddon Marsh Wandle Park

Carshalton

St Mary Cray

Swanley Eynsford Shoreham

Maidstone and Ashford International

Otford

Clock House Orpington

Elmers End

Eden Park 6

Harrington Road

Tonbridge, Hastings, Ashford International, Canterbury, Folkestone and Dover

Hayes

West Wickham

Arena

WEST CROYDON

Knockholt

Woodside

Cheam

Bat & Ball

Chelsfield

Dunton Green

Blackhorse Lane

Chessington South

Ewell East Belmont

Carshalton Beeches

Wallington

Waddon Reeves Centrale George Corner Street

Epsom

Church Street

Ashtead Epsom Downs

Bookham Effingham Junction

Leatherhead

Guildford

Dorking and Horsham

6 Woodmansterne

Kingswood Tattenham Corner

Wellesley Road

5

Banstead

Cobham & Stoke D’Abernon

Guildford, Havant, Portsmouth and Isle of Wight

Bickley

5

Norwood Junction

Selhurst

Ampere Way

West Sutton

Esher

Chatham, Canterbury Dover and Margate

Bromley North

BROMLEY SOUTH

Avenue Road Birkbeck

Thornton Heath

Therapia Lane

Stoneleigh Surbiton

Hersham

4

Mitcham Junction

Hackbridge

Chislehurst

Petts Wood

Beckenham Road

Anerley

Norbury Mitcham

Beddington Lane

St Helier Sutton Common

Thames Ditton Waltonon-Thames

Aldershot, Basingstoke, Salisbury, Exeter, Southampton, Bournemouth, Poole and Weymouth

Phipps Bridge

Morden South Worcester Park

Berrylands

Albany Park

New Eltham

Elmstead Woods

4

Beckenham Junction

Penge West

South Merton Addlestone

Ravensbourne

Kent House

Gipsy Hill

DARTFORD

Crayford Bexley

Beckenham Hill

New Beckenham West Norwood

Lee

Bexleyheath

Sidcup

Grove Park Sundridge Park

Bellingham Lower Sydenham

South Wimbledon

Wimbledon Chase

Tadworth

Chipstead

Gatwick Airport

Gravesend and Chatham

Barnehurst

Welling

Mottingham

Ladywell Catford Bridge

Forest Hill

West Dulwich

Slade Green

Falconwood

Hither Green

Sydenham

Colliers Wood

Merton Park

Chertsey

Eltham

Blackheath

Honor Oak Park

North Dulwich

Tulse Hill

3 Streatham

Woolwich Arsenal

Elverson Road LEWISHAM

Crofton Park

Catford

Herne Hill

Streatham Hill

Tooting

Belvedere Erith

Woolwich Dockyard

Kidbrooke

East Dulwich

Brixton Clapham South

Tooting Bec Tooting Broadway

Haydons Road

Ebbsfleet International and Ashford International

Abbey Wood

Plumstead Charlton

St Johns

Brockley

Balham

Southfields

Gallions Beckton Reach

King George V

Westcombe Park Maze Hill

Peckham Rye

Clapham Common East Putney

Cyprus

Island Gardens

Deptford Bridge New Cross New Cross Gate

Tilbury and Southend

Beckton Park

Crossharbour

Greenwich

Nunhead

Grays

Purfleet

Royal Albert

Pontoon Dock

Mudchute Cutty Sark for Maritime Greenwich

Deptford

Queen’s Road Peckham Denmark Hill

Loughborough Junction

CLAPHAM JUNCTION

Ockendon Chafford Hundred

Rainham

Prince Regent

West Silvertown

North Greenwich

London City Airport

Canada Water

Basildon and Southend

Upminster Dagenham Dock

South Quay

Rotherhithe

Bermondsey

Canary Wharf

Heron Quays

South Bermondsey

Dagenham Dagenham Elm Upminster East Upney Becontree Heathway Park Hornchurch Bridge

Barking

Canning Royal Victoria Town Custom House for ExCeL

West India Quay

Westferry

Harold Wood

Emerson Park

East Ham

Docklands Light Railway

Poplar

Wapping

Borough Elephant & Castle

Stockwell

Queenstown Road (Battersea)

Wandsworth Town

Putney

Wimbledon Park

Railair coach link

LONDON BRIDGE

Lambeth North

Vauxhall

Putney Bridge

Hampton

Sunbury

Upper Halliford

Shadwell Tower Hill

Monument

Gidea Park

Chadwell ROMFORD Heath

Goodmayes

Star Lane

Bank

Parsons Green

Barnes Bridge

Upton Park Plaistow

West Ham Devons Road

All Saints

Limehouse

WATERLOO

Imperial Wharf

Mortlake

Strawberry Hill

5

Cannon Street Mansion House

Temple Embankment

Seven Kings

Ilford

Woodgrange Park

Abbey Road

Bromley-by-Bow

Whitechapel

Aldgate East

Manor Park

Forest Gate

Pudding Mill Lane

Langdon Park

FENCHURCH STREET

Westminster

Kennington

Barnes North Sheen

RICHMOND

Bow Road Bow Church

Stepney Green

Aldgate

Surrey Quays

Kew Gardens

St Margarets

Mile End

Bethnal Green

LIVERPOOL STREET

Leicester Square

Pimlico

Isleworth

Shepperton

MOORGATE

Bank

Shenfield, Southend, Chelmsford, Colchester, Ipswich and Norwich

Wanstead Park Leyton

Stratford High Street

St Paul’s City Thameslink

Leytonstone High Road

Maryland

STRATFORD

Cambridge Heath

Hoxton

Gants Hill

Leytonstone

Shoreditch High Street

Chancery Lane

St. James’s Park

Battersea Park

Whitton

Feltham

Newbury Park

Hackney Wick

London Fields

Old Street

BLACKFRIARS

Sloane Square

VICTORIA

West Brompton

Twickenham Ashford

Homerton

STRATFORD INTERNATIONAL

Essex Road

Angel

Barbican

Chiswick

Hounslow

Staines

Egham

Barkingside

Wanstead Hackney Central

CROSS

Holborn

Covent Garden

Syon Lane

bus

Wraysbury

Virginia Water

South Woodford

Snaresbrook

Leyton Midland Road

Clapton

Dalston Kingsland

Gunnersbury

Fulham Broadway

Fairlop

Walthamstow Queen’s Road

St James Street

Blackwall East India

South Kensington

Gloucester Road

Earls Court

West Kensington

Kew Bridge

Brentford Heathrow Terminal 4

Sunnymeads

Ravenscourt Park

Hounslow West Hatton Cross

Datchet 4

Stamford Brook

Hainault

Redbridge

Russell Square

Oxford Circus Tottenham Court Road Green Park Piccadilly Circus

Hyde Park Corner Knightsbridge

Barons Court

Hammersmith

Chiswick Park

Hounslow Central

Blackhorse Road

Haggerston

Warren Street Goodge Street

Bond Street

Lancaster Gate Marble Arch

Hounslow East

Central WINDSOR & ETON Riverside

Ascot, Bracknell and Reading

Queensway

High Street Kensington

Goldhawk Road

Chigwell Woodford

Hackney Downs

Farringdon

Euston Square King’s Cross St Pancras

Regents Park

Notting Hill Gate

Shepherd’s Bush

Shepherd’s Bush Market

Acton Central

ST. PANCRAS INTERNATIONAL EUSTON

Bayswater

Holland Park

Latimer Road North Acton

on Heathrow Connect services

PADDINGTON

Ladbroke Grove

Acton Main Line

West Ealing

Hanwell

Iver Travelcards and Oyster pay as you go

Baker Street

Edgware Road

West Acton

Mornington Crescent

Great Portland Street

North Ealing

SLOUGH

Southpath Grange Hill

Walthamstow Central

Dalston Junction

Highbury & Islington

Caledonian Road KING’S & Barnsbury

St John’s Wood

MARYLEBONE

Royal Oak

3

Wood Street

Rectory Road

Drayton Park Canonbury

Camden Town

South Kilburn High Hampstead Road

Maida Vale

Park Royal

Northumberland Park

Tottenham Hale

Stoke Newington

Holloway Road Caledonian Road

Camden Road

Chalk Farm

Castle Bar Park

Reading, Oxford, Swindon, Bath, Bristol, West of England and South Wales

White Hart Lane

Seven Sisters

Arsenal

Tufnell Park Kentish Town

Kensal Green

Kilburn Park

Roding Valley

South Tottenham

FINSBURY PARK

Kentish Town West

Kensal Rise

Willesden Junction Alperton

Buckhurst Hill

Highams Park

Stamford Hill

Stonebridge Park

Sudbury Town

Hanger Lane

Chingford

Angel Road

Upper Holloway

Perivale

South Greenford

Loughton

Ponders End

Archway

Gospel Oak

Hampstead Heath

West Hampstead

Existing / new lines in tunnel

/

Debden

Enfield Lock Brimsdown

Silver Street

Manor House

Crouch Hill

Highgate

Waltham Cross Turkey Street

Edmonton Green

Bruce Grove

Harringay Green Lanes

East Finchley

Golders Green

Hampstead

Kilburn Brondesbury Brondesbury Park

Wembley Central

Wood Green Turnpike Lane

Hornsey Harringay

Cricklewood

Willesden Green

Sudbury & Harrow Road

Palmers Green Bowes Park

Alexandra Palace

Finchley Central

Brent Cross

Dollis Hill

Wembley Stadium

North Wembley

Sudbury Hill Harrow

Northolt

Greenford

Hendon WEMBLEY PARK

Epping Theydon Bois

Winchmore Hill

Bounds Green

New Southgate

West Finchley

Hendon Central

Kingsbury Preston Road

Kenton

Grange Park

Arnos Grove

Cheshunt

Theobalds Grove

Bush Hill Park

Southbury

Totteridge & Whetstone

Mill Hill East

Enfield Town

Colindale

Neasden

West Harrow Ruislip Gardens

2

Harrow & Wealdstone

North Harrow

Rayners Lane

Eastcote

Mill Hill Broadway

Woodside Park

Queensbury

Headstone Lane

Pinner

West Ruislip

Hillingdon

Burnt Oak

Canons Park Hatch End

Northwood Hills

Crossrail 1 (under construction) Crossrail 2 (proposed by TFL) Crossrail 3 (imagined)

Broxbourne

Enfield Chase

Southgate

Oakleigh Park

High Barnet

Carpenders Park

Northwood

7

Denham

Uxbridge

Edgware

Stanmore Moor Park

Rickmansworth

Denham Golf Club

New Barnet

Elstree & Borehamwood

Chorleywood

Gerrards Cross

Rye House

Gordon Hill

Oakwood

Harlow, Bishops Stortford, Stansted Airport and Cambridge

Ware

Crews Hill Cockfosters

Potters Bar Radlett

Chalfont & Latimer

St Margarets

Hertford North

Stevenage

Hatfield Welham Green Brookmans Park

ST ALBANS How Wood

Garston 9

Beaconsfield

Welwyn Garden City

St Albans Abbey

Bricket Wood

Thameslink (existing, modified)

Hertford East

Stevenage, Letchworth, Cambridge, Kings Lynn, Huntingdon, Peterborough and the North East

Luton Bedford, Wellingborough, Kettering, Leicester, Nottingham, Derby and Sheffield

Chesham

South Croydon

Lebanon Road

Sanderstead

Sandilands

Riddlesdown

Addiscombe Lloyd Park

Coombe Lane

Gravel Hill

Fieldway Addington Village

Purley Oaks

Reedham

Smitham (Coulsdon Town)

EAST CROYDON

Purley

Coulsdon South

, Brighton, Eastbourne and Worthing

Kenley

Whyteleafe South Whyteleafe

Upper Warlingham

Caterham

East Grinstead and Uckfield

New Addington

King Henry’s Drive

SEVENOAKS

DEPARTMENTAL INFORMATION COURSE DESCRIPTIONS Becoming an architect in the UK usually takes around seven years. Students progress through a three-part scheme laid out by the ARB (Architects’ Registration Board) and RIBA (Royal Institute of British Architects). The Cambridge undergraduate (BA) degree confers exemption from the ARB/RIBA Part 1 examinations, after which students usually spend a year working as an architectural assistant before proceeding on to a Part 2 course. Our MPhil in Environmental Design in Architecture (Option B) is such a course, although students may choose to study a Part 2 course at another school. After a further year of work students proceed to a Part 3 course, such as our Postgraduate Certificate in Professional Practice in Architecture. It is therefore possible to complete all your architectural qualifications in Cambridge. The following pages give an overview of our courses as they have run in the 2010-11 academic year, together with information about how to apply. It is worth noting that all our courses are updated regularly, and the most up-to-date details can be found on our website (http://www.arct.cam.ac.uk/).

STUDYING ARCHITECTURE AT CAMBRIDGE The three-year BA (Hons) undergraduate course in architecture at Cambridge carries exemption from ARB/RIBA Part 1 which is the first stage in qualifying as an architect. This means that the course differs from most others at Cambridge in that it must be studied as three continuous years. It is not possible to study another course first and then switch to architecture without starting again at the beginning. The benefits of studying in Cambridge are obvious. The University is one of the best in the world, the beautiful surroundings house outstanding libraries and teaching is traditionally done in small groups called supervisions. Moreover every student at Cambridge must be a member of a college which in turn provides a living environment and the chance to make friends with students studying other subjects.

The architecture course at Cambridge is unashamedly academic in its approach. Like other architecture schools elsewhere the core of the teaching is carried out in studios. Projects are set throughout the year and students are

required to produce models and drawings to communicate their design ideas.

The department provides studio desk space together with workshop and computer facilities. Students are supervised on their projects individually, twice a week typically. Studio work is time-consuming and architecture probably requires more hours per week than any other course in the University. Studio work however accounts for 60% of the overall marks each year. The remaining 40% is made up from lecture courses that cover the rest of the academic curriculum. Students attend small group supervisions on these courses and are required to complete essays and coursework.

Students are expected to master the technical subjects but they are also expected to acquire a much deeper understanding of architectural theory and history than is generally required in other schools. As a whole the course aims to foster the skills that will enable an individual to continue to learn and develop throughout his or her future career.

Full information about the undergraduate admissions process can be found on the University’s undergraduate admissions website: at http://www.cam.ac.uk/ admissions/undergraduate/.

APPLYING A-LEVEL SUBJECTS There is no prescribed combination of A Level (or equivalent) subjects required for the Architecture course. Applicants with backgrounds in either the humanities or the sciences have been successful, although a combination of arts and science subjects is considered the best preparation. The majority of applicants have studied Art or History of Art, which provides a better preparation for the course than subjects such as Design Technology and Technical Graphics. Mathematics at A Level (or equivalent) is also encouraged. Students who do not offer two mainstream academic subjects may find themselves at a disadvantage.

Any offer of study will generally require students to attain A*AA or AAA grades. A strong interest and commitment to the discipline is essential.

Offers are regularly based on examinations other than A-levels (e.g. Scottish Highers and Certificate of Sixth Form Studies, the European and French Baccalaureates, Arbitur, Maturita, the Irish Leaving Certificate and the Advanced International Certificate of Education offered by the University of Cambridge Local Examinations Syndicate).

PORTFOLIO All applicants are expected to show a portfolio of recent work at interview but this isn’t expected to be work of an architectural nature (e.g. plans, sections etc).

Admissions Tutors will want to see something that will illustrate your interests, experience and ability in the visual and material arts. Normally drawing and painting forms the basis of the portfolio but other media such as sculpture and photography may also be included. It’s usually sufficient for three-dimensional work to be exhibited in photographs.

A sketchbook with ongoing drawings is extremely helpful and applicants are encouraged to take one to the interview. It may be in any media (pencil, charcoal, crayon etc) and should include a variety of subject matter. The work can be material prepared for school-leaving examinations but creative work executed outside formal courses is also welcome.

Enquiries All enquiries about admission requirements and procedures should be addressed to the Admissions Office at one of the Cambridge colleges. Many colleges hold open days several times during the year where it is usually possible to talk to the Director of Studies for Architecture who will answer specific questions.

OPEN DAYS The Department participates in the main University open days each year (usually on the first Thursday and Friday in July) at which potential applicants can meet staff and view an exhibition of student work. Enquiries about the date and timetable should be addressed to the Faculty Office Secretary. Information is also available via the University’s website, and those wishing to attend should register at http://www.cam.ac.uk/admissions/undergraduate/events/.

YEAR 1 The first year of the architecture course provides an important introduction to the course as a whole. The year ends with an examination for Part IA of the Architecture Tripos after which students can opt to move to other courses within the University. This is rare, however: most architecture students stay for all three years.

STUDIO Studio work is based on a series of projects that progressively introduce the student to the conditions and possibilities of architecture. These typically start with smaller-scale, more abstract exercises and work up to a more complex building project at the end of the year.

The emphasis is on understanding and developing proficiency in traditional modes of architectural representation – models, collages, perspectives, elevations, plans and sections. At the same time students are expected to master basic CAD skills like MicroStation and Photoshop and to use these in their studio presentations. Students are expected to develop skills in judging architecture and to learn how to present their ideas to an audience through presentations to their peers and visiting critics.

Studio days are timetabled twice a week throughout the year and at the end of the year students present their completed portfolios for marking. The portfolio carries 60% of the overall marks.

ROME The first year travels to Rome for a week in the Easter holidays. This trip involves visits and lectures on the famous buildings of the city and its surroundings. The resulting sketchbook is part of the portfolio submission at the end of the year. The trip is subsidised but students are expected to contribute a certain amount towards the costs (the amount varies between years but is likely to be between 15-25%). Additional funds are sometimes available from the colleges.

LECTURES AND WRITTEN PAPERS There are five papers in the end-of-year examinations: Paper 1: Introduction to architectural history.

Paper 2: Introduction to architectural theory.

Paper 3: Fundamental principles of construction.

Paper 4: Fundamental principles of structural design.

Paper 5: Fundamental principles of environmental design.

The first-year architectural history course covers the history of architecture

from the beginning of civilisation to the nineteenth century.

Architectural theory provides an introduction to the development of architectural theory from the nineteenth century to the present day.

Through a series of site visits, lectures and coursework first-year building construction aims to introduce students to the building site and a basic understanding of building materials.

Coursework includes a small design project integrated with the studio programme. Structural design introduces students to basic structural calculations.

Exercises are set on building and testing structures to destruction.

Environmental design sets out bioclimatic design principles and includes the calculation of lighting factors, fabric heat losses and reverberation times together with a basic introduction to building physics.

All papers carry equal marks and are taught through lecture courses through the first two terms of the year. Students are also given supervisions–typically by their Director of Studies – for which they are expected to produce essays and carry out basic reading.

YEAR 2 The second year of the architecture course builds on the first. The year ends with an examination for Part IB of the Architecture Tripos. This year is much more challenging than the first year and students are expected to have developed ways of working that allow them to keep up with the pace.

STUDIO Depending on numbers, the second year offers a choice of two or three studios following comparable design programmes. Projects are set ranging in scale from mapping studies and interior interventions to a reasonable-sized building at the end of the year.

The emphasis is on integrating the technical skills learnt in the first year and in the ongoing lectures courses with the studio output. Students are expected to demonstrate a greater awareness of social issues and theoretical frameworks and to be able to understand how their designs would be built. They are expected to be able to use a proper CAD package such as Rhino, Vectorworks or MicroStation to produce drawings and to have developed the ability to criticise

their own work and that of others.

As in the first year, studio days are timetabled twice a week throughout the year and at the end of the year students present their completed portfolios for marking. Similarly the portfolio carries 60% of the overall marks.

LECTURES AND WRITTEN PAPERS There are five papers in the end-of-year examinations: Paper 1: Essays on the history and theory of architecture, urbanism and design.

Paper 2: The history and theory of architecture, urbanism and design.

Paper 3: Principles of construction.

Paper 4: Principles of structural design.

Paper 5: Principles of environmental design.

The second-year architectural history course draws on the specialist knowledge of researchers in the Faculty and invited lecturers. A number of topics are covered in more depth, ranging from Islamic Architecture to Narratives of the Modern City. Architectural theory is similarly based on the research of those within the Faculty. Topics are based around the idea of the city and have included the urban design and history and theory of garden design. Second-year students must submit two History/Theory essays during the year. These essays address topics related to the History/Theory lecture courses and help prepare students for the dissertation they will complete in the third year.

Second-year building construction works systematically through the range of options available to the modern architect. The first term looks at interiors and the second focuses on the design of structural elements and the building envelope. Structural design introduces students to more complex decision-making issues in structural design including the design of steel and concrete structures, while Environmental design builds on the first year by looking at how the techniques learned can be applied to particular building types and situations.

Constriction, Structures and Environment coursework based on studio work is submitted as part of the portfolio at the end of the year.

As in the first year, all papers carry equal marks and together count for 40% of the final mark. Subjects are taught through lecture courses throughout the year.

Students will typically have a lecture on each subject each week during term.

Students are also given supervisions – typically by the subject lecturers – for which they are expected to produce essays and carry out basic preparation.

YEAR 3 The third year of the architecture course is the culmination of the course. The year ends with an examination for Part II of the Architecture Tripos leading to a BA (Hons) degree and Part 1 ARB/RIBA. Students in the third year are expected to be able to demonstrate that they have mastered all the various aspects of the course so far.

STUDIO Students are given a choice of studios in their third year. Third-year studios will vary in their approach but all will require the students to produce a design for a building at the end of the year which may be sizeable and clearly demonstrates an understanding of the theoretical and technical aspects of architecture.

Students are expected to demonstrate a high level of technical competence and be able to model their building in CAD. As in the second year, studio days are timetabled twice a week throughout the year and at the end of the year students present their completed portfolios for marking. The portfolio again carries 60% of the overall marks.

DISSERTATION Students are required to write a 7,000-9,000 word dissertation in their third year. The choice of subjects is wide and limited principally by the availability of a supervisor who is competent in the particular topic. Recent dissertations have focused on subjects raised in the different lecture courses: in the lectures on environment, structures and construction as well as in the history and theory lectures, and on issues that have emerged from work in the studios.

Lectures and Written Papers Paper 1: Advanced studies in the historical and theoretical aspects of architecture and urbanism.

Paper 2: Management, Practice & Law. Paper 3: Advanced studies in construction technology, structural analysis and environmental design related to case-studies.

Paper 4: Architectural Engineering.

The third-year architectural history and theory course offers a wide range of specialist topics. Students are generally expected to attend all the lectures but only have to answer questions on three topics in the exam.

In the third year there are three technical courses which are each one term long. The first of these courses is on aspects of professional practice. A joint structures, environment and construction course is based on case study buildings. Students are taken to visit two buildings during the Lent term and lectures are given by members of the design teams working on these buildings.

Students are required to keep Case Study Notebooks through the term which count towards the marks for the examination.

In the third year the papers carry 20% of the overall mark. In addition to the weekly lectures students are also given supervisions –typically by the subject lecturers– for which they are expected to produce essays and carry out basic preparation.

A joint course with the Engineering Department takes place in the Michaelmas term, Architectural Engineering, which is wholly marked on coursework. Students worked back and forth between design and analysis, a reciprocity which reinforces the relationships between subjective (“design”) criteria and objective (“technical”) criteria, making the designs more robust, plausible and elegant.

POSTGRADUATE RESEARCH DEGREES The Department has an unusually broad research base, and welcomes applications from graduates to undertake research towards an MPhil or PhD. Unlike, for example, many North American Universities, the University of Cambridge does not offer a ‘Graduate Programme’. Instead, it admits those applicants whose research interests match those of any member of the academic staff who is available and willing to act as the research student’s supervisor.

Graduates wishing to undertake research in areas related to the MPhil in Environmental Design in Architecture may be required to register for this degree and, subject to a good performance, will then be formally accepted to begin research towards a PhD. All research students are required to attend the Department’s postgraduate training sessions. Candidates for the PhD must normally pursue supervised research in residence in Cambridge for at least 9 terms (3 years). They are required to submit a first-year paper after 3 terms of

research and, subject to satisfactory reports from their Assessor and Supervisor, candidates are then registered for the PhD degree. Their dissertation must be submitted within 12 months of completing 9 terms of research.

ENTRY REQUIREMENTS Entry requirements are considered on an individual basis. Applicants are generally expected to have a first-class or high 2.1 honours first degree and, where appropriate, a Master’s degree. They are strongly advised to make preliminary enquiries about the standard expected and about the possibility, in principle, of undertaking research in the specialist area of their choice.

APPLICATIONS All potential applicants for graduate study should consult the Board of Graduate Studies website for information about the applications process and funding opportunities: http://www.admin.cam.ac.uk/offices/gradstud/.

The applications should be accompanied by some written work (such as an essay) and a statement of the applicant’s research interests. Applicants with design experience should also submit some evidence of their drawn work (A4 size or equivalent).

ENQUIRIES Preliminary enquiries should be directed to the Department Secretary. Our Graduate Studies Prospectus can be found on the University website, http:// www.cam.ac.uk/.

MPHIL IN ENVIRONMENTAL DESIGN IN ARCHITECTURE The issue of environmental design in architecture has, in recent years, assumed great significance. Our MPhil course, first established in 1987, remains at the forefront of this field. In addition to the one-year intensive research degree, we have recently launched an additional option for those studying the course.

Option B is a two-year course, including three terms’ placement in a practice.

Along with the degree of MPhil in Environmental Design in Architecture, this option is prescribed and validated at Part 2 level by the ARB and RIBA. Students who gain sufficiently high marks in either option may apply to proceed to study for a PhD degree. More details of both options of the course and the application procedures can be found on the Department’s website (http://

www.arct.cam.ac.uk/Arct/Courses.aspx).

Option A This course is open to students from a wide range of academic backgrounds and offers them the opportunity to acquire and develop skills and to pursue interests in this field. The course works on a broad front, with equal emphasis being placed on the architectural, engineering and scientific aspects of the subject. The course themes are wide-ranging. At the extreme, they focus on the impact of buildings upon the global environment (through their demand for ever-diminishing sources of energy and the consequences of pollution and global warming) and, at the other, on the quality of the internal environment.

These problems are addressed by emphasising the theory and application of the passive or bioclimatic approach to environmental design.

Alongside these themes attention is paid to the history of environmental design – “from Vitruvius to the Environmental System”. This establishes a background for understanding the approaches of contemporary practice. It also permits students to develop interests in the relationship between environmental design and more traditional themes in the history and theory of architecture.

In the first two terms students attend regular seminars dealing with topics such as climate, building, physics, case studies and historical aspects of environmental design. Other lectures in the Departments of Architecture and Engineering are also available. During this phase four 3,000-word essays have to be presented as well as a design project and report which is used as a vehicle to demonstrate the application of principles covered in the seminars.

In the second phase of the course students develop one of their essay topics as an area for personal research, in preparation for their 20,000-word thesis.

During this phase students often carry out fieldwork in buildings in the UK or abroad. An alternative to practical work may be theoretical work on mathematical models and analysis, or more historical and descriptive work or design research.

OPTION B This is a new post-graduate research degree combining rigorous research methodology, practice and design. In the first two terms students attend the same weekly seminars as students studying the MPhil (Option A), and will present three essays, short design projects and pilot studies leading to their design thesis. After the end of the Lent Term students spend 9 months in a

placement in an architectural practice, working 80% full time, during which they gain experience germane to their design thesis. There will be a three-way contract between student, practice and the University. During this placement period students will also work on the major output which is a design thesis incorporating a written academic paper and a comprehensive design project. The students attend recall days at regular intervals. Students then return to Cambridge for one final term, at the end of which they submit the completed design thesis. This must be both a substantial piece of written academic research and a design for a building resulting from that research work.

The design work must satisfy the criteria for ARB/RIBA Part 2. The nine months spent in practice during the course does not count towards the two years required in practice for Part 3 but obviously the experience gained in this year will be of benefit in those examinations.

MST IN INTERDISCIPLINARY DESIGN Interdisciplinary Design for the Built Environment is a part-time postgraduate course aimed at practising designers with at least three years work experience.

It is open to architects, engineers, and all those involved in the commissioning, design, construction and management of projects in the built environment.

It is offered jointly by the Departments of Architecture and Engineering. The course aims: •

to equip professionals for strategic decision making, inventive problem solving and team leadership

•

to develop skills in effective collaboration and communication, particularly between clients, consultants, contractors, specialists and occupiers

•

to provide a strategic overview of the production of the built environment including current challenges faced by the construction industry such as global climate change and sustainability.

The course is part-time and lasts two years. During that time, students spend seven separate residential weeks studying in Cambridge at 3-4 month intervals.

Each of these residential weeks comprises an intensive programme of formal lectures (from leading practitioners and university academics), workshops and seminars, and a week-long design project.

Studio design work is undertaken in small interdisciplinary teams, supported

by design tutors and culminating in a design review. Each of the residential weeks is based around a theme. These are currently: Interdisciplinary understanding and teamwork; the client, the user and the design team; sustainable construction; infrastructure and landscape; the structure of the industry; and urban design and sustainable communities. One week is given over to management training. Between the residential weeks, and away from Cambridge, students undertake four written assignments: one 5,000-word case study; two 3,000-word essays; and in the second year a 15,000-word thesis.

Students receive supervisions for their assignments from specialists within the University.

College Membership Students on the course become members of Wolfson College, which was established specifically for graduate and mature students.

ENTRY REQUIREMENTS Applicants should generally have an upper second class honours degree or better, although alternative experience or qualifications may be taken into account. Overseas students must demonstrate a good command of the English language and meet the requirements of the University’s Board of Graduate Studies in this respect. Details of the course fees, dates and the application procedure can be found on the website http://www.idbe.org/.

MST IN BUILDING HISTORY The new Master of Studies in Building History is a part-time postgraduate course aimed at people wanting to pursue a career in the analysis and assessment of the significance of historic buildings. It is offered jointly by the Departments of Architecture and History of Art in collaboration with English Heritage. Students are expected to come from a wide variety of backgrounds, not necessarily related to be studied. The course aims: •

to provide individuals with a detailed understanding of the history and development of buildings

•

to train students in the recording of historic buildings

•

to equip students to carry out research in all aspects of the historic environment.

THE COURSE The course is part-time and lasts two years. In the first year students attend three two-week residential courses, consisting of lectures, visits, workshops and seminars. These are examined in a further week-long course in the summer.

Courses are delivered by leading experts in each field from within and outside the university. Students are required to record and analyse a historic structure and write a research proposal. The second year is spent on a 6-month placement with a heritage organisation (it is up to the student to find the placement) and the completion of a dissertation on an approved topic of research..

ENTRY REQUIREMENTS Applicants should generally have an upper second class honours degree or better, although alternative experience or qualifications may be taken into account. Overseas students must demonstrate a good command of the English language and meet the requirements of the University’s Board of Graduate Studies in this respect. Details of the course fees, dates and the application procedure can be found on the website: http://www.ice.cam.ac.uk/mst-buildinghistory/.

ARB/RIBA Part 3 Postgraduate Certificate in Professional Practice in Architecture An intensive course of three taught sessions (2 days in September, 3 days in March/April and 3 days in July) is delivered through a mix of lectures, seminars, debates and workshops. Students are grouped into Study Groups to meet and work on set problems and are also assigned a Professional Studies Advisor.

The course is validated and prescribed as an ARB/RIBA Part 3 qualification.

ELIGIBILITY The course is open to graduates who have been awarded exemption or who have passed the ARB/ RIBA Part 1 and 2 examinations, and who have completed the mandatory periods of practical experience. Candidates can register for the course in their second year of practical training experience providing they will complete the required period before the examination.

EXAMINATION To be eligible for the examination for Part 3, candidates must have obtained

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