ArcSoc Summer Exhibition 2015 : University of Cambridge by ARCSOC

THE UNIVERSITY OF CAMBRIDGE DEPARTMENT OF ARCHITECTURE 2015

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

EXHIBITION PLAN Main Entrance

CONTENTS

Course Descriptions

Studying Architecture in Cambridge

Applying

Year 1

Year 2

Unit 1

Unit 2

Unit 3

Year 3

Unit 1

Unit 2

Unit 3

104

Years 4 and 5

120

Postgraduate Research Degrees

152

ARB/RIBA Part 3

160

About Arcsoc

162

Alex Schweder Art

Y3 S3

Y3 S2

Y3 S1

MPhil

EXHIBITION Kate Altmann, Enrico Brondelli, Emmy Bacharach and Ann Oduwaiye CATALOGUE Alexander Baker, Beth Fisher, Charlotte Leahy, Oliver Baldock, Paul Cristian, Chloe Tayali, Dom Browne and Ceri Hedderwick Turner

Printed by Printerbello, Cambridge

To Elyâ&#x20AC;&#x2122;s Yard

HANBURY STREET

Introduction

BRICK LANE

INTRODUCTION It is with pleasure that I write this introduction to the Cambridge Department of Architecture Exhibition catalogue for 2014-15. The work shown here is a representation of the energy, talent, hard work and commitment of an extraordinary cohort of students. I hope you will enjoy it. The Cambridge Exhibition, now an established feature of the London summer show season, has been organised by our Year 3 graduating students. They plan, raise funds, design and construct it as a celebratory completion of their undergraduate careers. The quality of the result is a good indication of their drive and dedication. Architecture as a discipline and profession is in a state of rapid transition, reflecting many of the world’s challenges: climate change, new technology, population density, conflict, migration, natural hazards. Architecture and urbanism are implicated in all these areas and at Cambridge we believe that education must be a key player in responding to such changes. The Department addresses them at all levels from the undergraduate course to the Martin Centre

for Research in order to better integrate our thinking and to prepare students to work in a new and demanding world. Such attitudes permeate all of our design studios, lectures and seminars, and students’ independent research. Particularly our innovative MPhil in Architecture and Urban Design, which offers masters level students both design (RIBA Part II) and research in their own area of investigation, is a leader in the field. Our outstanding results in the 2014 Research Excellence Framework (REF) puts us in an excellent position to build upon our experience. I write this as I near the end of my first year as Head of Department – and as the first female to do the job in Cambridge! The year has been has stimulating and rewarding, largely due to the students, staff and colleagues whose creativity and cooperation make the Department the flourishing place that it is today. I am grateful to all of them. Wendy Pullan Head of Department

COURSE DESCRIPTIONS Cambridge provides the full range of courses to allow you to qualify as an architect. You cannot call yourself an architect in the UK until you have passed the registration exams, a process that usually takes around seven years. Students progress through a three-part scheme laid out by the ARB (Architectsâ&#x20AC;&#x2122; Registration Board) and RIBA (Royal Institute of British Architects). The Cambridge Undergraduate degree BA(Hons) 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 our Masters in Architecture and Urban Design (MPhil) which carries exemption from ARB/RIBA Part 2. After a further year of work students can proceed to the Part 3 course, which in Cambridge is the called 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 2014-15 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 IN CAMBRIDGE The 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. The course takes three 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 at Cambridge are obvious. The University is one of the best in the world, the historic surroundings house outstanding libraries and teaching is traditionally done in small group supervisions. Moreover every student at Cambridge must be a member of a college, which in turn provides a uniquely stimulating living environment that offers architecture students the chance to make friends with people studying other subjects. 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, typically twice a week. Studio work is time-consuming and architecture probably requires more hours per week than any other course in the University. Studio work accounts for 60% of the overall marks in 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. They are typically examined by a combination of written papers at the beginning of the summer term and coursework submitted during the year. 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 architecture schools. The school is smaller than most, allowing students and staff to get to know each other. As a whole the course aims to provide a friendly and supportive environment and 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 Universityâ&#x20AC;&#x2122;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 are admitted, although a combination of arts and science subjects is generally considered the best preparation. The majority of applicants have studied Art, which provides a better preparation for the course than subjects such as Design and Technology and Technical Graphics. Student without Art will have to spend additional time preparing their portfolios for admission. Mathematics at A Level (or equivalent) is also encouraged. 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. Students who do not offer two mainstream academic subjects may find themselves at a disadvantage. 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). The colleges admissions officers can provide guidance.

dimensional work to be exhibited in photographs. A sketchbook with ongoing drawings is extremely helpful and applicants are encouraged to bring one to the interview. The work can be material prepared for school-leaving examinations but creative work executed outside formal courses is also welcome. Candidates may also be required to provide a sample of written work or take other tests; requirements vary from college-to-college so College Admissions Tutors should be approached for guidance on these matters.

ENQUIRIES All enquiries about admission requirements and procedures should be addressed to the Administrations 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 PORTFOLIO All applicants are expected to show a portfolio of recent work at interview. This is not expected to be work of an architectural nature (e.g. plans, sections, etc). Interviewers want to see porfolios that 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 is usually sufficient for three-

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 Universityâ&#x20AC;&#x2122;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: 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 Photoshop and InDesign and to use these in their studio presentations. Students are expected to develop skills in judging architecture and 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.

FIELD TRIP

LECTURES AND WRITTEN PAPERS There are five papers in the end-of-year examinations: Paper 1: Introduction to architectural history and theory before 1800 Paper 2: Introduction to architectural history and theory from 1800 to present day 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 and theory courses provide an introduction to the development of architecture and architectural theory from the ancient world to the present day. First-year building construction aims to introduce students to the building site and a basic understanding of building materials through a series of site visits, lectures and coursework. Coursework includes a small design project integrated within 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 within a basic introduction to building physics. Coursework enables students to begin to test the environmental performance of their own design projects.

The first year travels abroad on a compulsory trip for 5 days in the Easter holidays to a European city (past trips have included Rome and Naples). This trip involves visits and lectures on the famous buildings of the chosen city and its surroundings. The resulting sketchbook is part of the portfolio submission at the end of the year. The costs of the trip are covered by funds from faculties and colleges.

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

SPONSORS Karakusevic Carson Architects Cambridge Association of Architects Department of Architecture University of Cambridge

YEAR 1

TUTORS Julika Gittner Beth Hughes Jim Ross Mark Smith

STUDENTS Ifeoluwa Adepegba Alice Anders Adekunle Awodele Tom Bacon Sophia Bharmal Laura Bielinski Oliver Brenner Dominic Browne Toby Corry Eleanor Derbyshire Oluwadamilare Erogbogbo Kathryn Fisher Stephen Flynn Eleanor Foley Melvin Fung Emily-Rose Garnett Mark Gavigan Francisca Hamilton Ceri Hedderwick Turner Leyla Hepsaydir James Jackson Inji Kang Mustafa Laali Nadia Lesniarek-Hamid Michelle Lo Miranda Lyle Perez Darya Moatazed-Keivani Nicole Ng Thomas Nuttall Luka Pajovic Andreea Pirvan Abigail Popple Benjamin Price Han Shi Amelia Stevens Miho Sugiyama Gabor Tajnafoi Luke Upton Phoebe Walton Xuecheng Wang Emily Wickham Matilda Wickham

VISITING CRITICS CJ Mahony Ceri Littlechild Ruthie Collins Zara Haider Laurence Neil Liz King Eleanor Voss Geraldine Dening Je Ahn Matthew Hopkins Raphael Lee Andreas Pappallas Emily Carmichael Silvia Ulmayer Jane Clossick Barry Phipps Yeonsook Heo Francois Penz Grant Lambie Benedicte Foo Maurizio Biadene Suzanne Prust Alex Scott-Whitby Alice Edgerley Minna Sunikka-Blank Emily So Georgie Day Ben Taylor James Houston

SPECIAL THANKS Daniel Brine Alan Bond Ceri Littlechild Philipp Ebeling February Phillips Alan Baldwin Clive Tubb Stan Finney Neil Mayo Chris Owen Mattia Leone Ingrid Schroeder Phil Cooper Dave Smith Rory Murphy Mike Beaumont 14

Project 1 Arrival 2.5 weeks The project investigated the physical, social and cultural nature of arriving in a place by observing and recording an arrival through video, measured drawing and collage.

Project 2 The Junction 8.5 weeks The project brief was developed with Daniel Brine, creative director at the Cambridge Junction art venue. Students explored the building, the square and connections to Hills Road bridge and how those spaces were used and perceived by visitors to the Junction. The students designed and constructed two temporary installations. The designs were chosen through a competition process and funded by Karakusevic Carson Architects, the Cambridge Association of Architects and Cambridge University’s Department of Architecture. One design activated the main entrance elevation for a period of three weeks with the installation of a 60m long percussive wall made from suspended recycled water cooler bottles. The second project was an impromptu performance piece that created a large scale spectacle of polythene sheets unravelled from a set of suitcases. The piece commented on the lack of access and quality of the privately owned public square in front of the venue.

Project 3 Production 11 weeks The project set out to devise a strategy for the Mill Road area to answer the longstanding lack of affordable space for artistic production in Cambridge and to develop proposals for an artist studio building with a public interface for the Cambridge Arts Salon, a local independent arts organisation. The students were introduced to the Mill Road area – earmarked by the council as a potential site for the location of a creative hub in Cambridge – through a walk guided by a local artist and the council’s Mill Road area coordinator. Each student identified a potential site for an artist studio building based on a mapping of the wider site context and the requirements defined by artists from the Cambridge Art Salon.

3 Scenario 1 : Bingo night for the Working Menâ&#x20AC;&#x2122;s Club

Scenario 2 : Exhibition for the artists

Scenario 3 : Lunch time with the artists and club members

Approaching the building

View from Vinery Road - a glimpse of the terrace

1 The main hall heart of the building, communal and centralised space designated for group projects the private studios are aligned to its sides and frame it

The terrace space

Covered outdoor space Having the same materiality, it is an extension of the building Semi-private, used by both the attendants of the existing building on site and the artists

Visualising the spaces

134

108

109

1 A Percussive Intervention 2 The Citizens Project

3 James Jackson 4 Andreea Pirvan 5 Matilda Wickham 6 Abigail Popple

NE WES T SC 10m

HEM

1:2

E PL

CO NT

EX T

40m

PROPOSAL 2

Exploded Axo Showing inhabitation of building

N 1:200

Demolishing hall while retaining church Removal of existing halls leaved geometric open space around church to play with

G CONTENTS INSIDE AND SPATIAL

Keeping church in design as symbol of huge community passion

The Public Use of Tenison Road Artistsâ&#x20AC;&#x2122; Studios Landscaped plan and inhabitation of gallery, courtyard, workshop area, and new entrance from Mill Road Scale: 1:100

1 Ife Adepegba 2 Sophia Bharmal 3 Ali Laali 4 Leyla Hepsaydir

5 Adekunle Awodele 6 Jack Shi 7 Laura Bielinski

Slate tiles 10mm Battens 25mm Board 25mm Rafters and insulation 175mm battens 25mm Plaster board 25mm

Lintel Double glazing Sash frame Weather bar Window sill

Bricks 102mm Air gap 50mm Insulation 100mm Vapour control layer Breeze blocks 100mm Plaster board 25mm Tile flooring 20mm Screed 75mm Insulation 100mm

view from the cemetery

looking west from Gwydir st. to the cemetery

6 1:20 construction model of Studio pod

Rendered view from the cemetery

1 Stephen Flynn 2 Ceri Hedderwick Turner 3 Oli Brenner 4 Miranda Lyle Perez 5 Kathryn Fisher 6 Mark Gavigan 20

7 Darya Keivani 8 Luka Pajovic 9 Eleanor Foley 10 Leo Sixsmith 11 Miho Sugiyama 12 Tom Bacon Entering the site

Enhancing the visual connection from Gwydir st. to the Mill Road Cemetery and vice versa.

ODEL 1:200

1 Michelle Lo 2 Eleanor Derbyshire 3 Emily-Rose Garnett Year: 2016

22 5

4 Melvin Fung 5 Francisca Hamilton 6 Emily Wickham

Year: 2060

Year: 2030

4 B

Section AA

2 Section BB

Section CC

1 6

Section CC

Section BB

Section AA

Proposal 4- A combine

The dynamic facade of the studios changes over time due to the building an rebuilding of extensionsw

Elevation B-B 1:200

1:200

SOUTH ELEVATION

Elevation B-B 1:200

Elevations of art studio/highstreet strip of the Petersfield and Romsey

1:100 SECTIONS SHOWING RELATIONSHIPS BETWEEN BUILDINGS fringes

Looking South

Looking North

1 4 Section bb showing the same single module partitioned into two smaller studios 1:20

Inhabitated Sections of the Studio within the Site This shows the sections within the site how they sit in relation to the path through my block.

3 SECTION 1:50

4 Toby Corry 5 Lare Erogbogbo 6 Luke Upton 7 Tom Nuttall

1 Phoebe Walton 2 Ben Price 3 Dom Browne

4 1 THE COURTYARD

INTEGRATION OF NATURE WITHOUT BLOCKING THE PATH VIEW FROM THE COURTYARD

KEY RENDER OF PROPOSAL

! !

1 Gabor Tajnafoi 2 Alice Anders 3 Nadia Lesniarek-Hamid

4 Inji Kang 5 Amelia Stevens 6 Nicole Ng 7 Titas Vilimas

NAPLES FIELD TRIP

1 Amelia Stevens 2 Tom Nuttall 3 Darya Keivani 4 Mark Gavigan 5 Laura Bielinski

Naples 16.03.15 - 22.03.15

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 The second year students are divided into two or three units (10-15 students in each unit) following slightly different programmes, but generally all sharing the same site. 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 lecture courses within the studio output. Students are expected to demonstrate a greater awareness of social issues and theoretical frameworks and greater understanding of how their designs would be built. They are expected to be able to use a proper CAD package such as Rhino, Vectorworks or AutoCAD 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 examination subjects at the end of the year: 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. Paper 1 is assessed entirely through submitted essays (two of them), addressing topics related to the core history/theory lecture courses. These essays help prepare students for the dissertation they will complete in the third year. The rest of the lecture courses are marked through written examination at the end of the 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. Construction, 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. Students will typically have a lecture on each subject each week during the first two terms of the year. Students are also given supervisions â&#x20AC;&#x201C; typically by subject lecturers â&#x20AC;&#x201C; for which they are expected to produce essays and carry out basic preparation.

Y2 UNIT 1

TUTORS Jon Lopez Hikaru Nissanke

HOTEL

STUDENTS Hamzah Ahmed Joe Bradley Julia Cabanas Philipp Heckmann-Umhau Fruzsi Karig Joseph Marchbank Kate McAleer Rosie Nicolson Marwa Shykhon Chloe Tayali

Despite their presence within our cities, they have become strangely disjointed from their surroundings, non–spaces. Yet buried behind their facade, the hotel contains a bewildering set of relationships and interactions. At once surreal and banal, they host trade and diplomacy, shopping and commerce, civic and clandestine encounters. Hotels are places of transience, plasticity, and disposal, of flirtation rather than attachment, restlessness rather than settlement, and laundered rather than fixed identities. We will examine distinctions between public and private space and the strange feeling of both belonging and being out place that the hotel environment engenders.

VISITING CRITICS

By examining the cultural contribution of the hotel in cinema and literature, the unit will be concerned with the film set as a mode of architectural production and it’s documentation.

Pooja Agrawal Pierre D’Avoine Susan Chai Jon Day Spencer de Grey Takako Hasegawa Sebastian Oswald Max Kahlen Camille Sineau Mary Ann Steane Silvie Taher Jorgen Tandberg Oliver Wainwright Owen Watson

Starting with the intense interiority of the hotel, its’ spaces and services, we will move to its threshold with the city, its’ facade. The film set will provide the tool with which to stitch the hotel into its surrounding in a humane but provocative manner. The site will be Kings Cross, with focus on its fixed and transient populations. The historical setting and milieu will act as counterpoint to the self renewing, serviced space of the hotel.

2 7

1 Kate McAleer 2 Philipp Heckmann-Umhau 3 Hamzah Ahmed 4 Joseph Marchbank 5 Chloe Tayali 6 Marwa Shykhon 34

7 Rosie Nicolson 8 Chloe Tayali

7 4

1 Joseph Marchbank 2 Julia Cabanas 3 Marwa Shykhon 4 Hamzah Ahmed

5 Kate McAleer 6 Philipp Heckmann-Umhau 7 Philipp Heckmann-Umhau

4 Kate McAleer 5 Rosie Nicolson

1 Joe Bradley 2 Hamzah Ahmed 3 Fruzsi Karig

1 Marwa Shykhon 2 Marwa Shykhon 3 Philipp Heckmann-Umhau 4 Joe Bradley 5 Kate McAleer 6 Julia Cabanas 40

7 Julia Cabanas 8 Fruzsi Karig 9 Joseph Marchbank 10 Chloe Tayali 11 Fruzsina Karig 12 Joseph Marchbank 41

1 Philipp Heckmann-Umhau 2 Joe Bradley 3 Marwa Shykhon

4 Hamzah Ahmed 5 Rosie Nicolson 6 Julia Cabanas

Y2 UNIT 2

OBJECT AND STAGE This year has focussed on two projects on the periphery of Kings Cross and the impact of major new development on the surrounding area. The themes followed by the unit have sought to investigate the spaces used for the production and display of objects, as well as to uncover how an exchange of cultural ideas might take place in this area of central London and what the possibilities for the creation of a meaningful public realm in this context might be.

TUTORS Pippa Nissen Edmund Wilson

STUDENTS

Our first project focussed on the hidden world of the Regent’s Canal on a series of sites along the north bank between York Way and the Caledonian road. The brief concentrated on an artist’s residency building that could be used as a satellite of the Central St Martins campus, and included a studio, gallery and apartments as well as café and discussion space. The buildings proposed are an intervention in the unusual urban environment of the canal boundary and surrounding streets and an attempt to explore how public and private edges might be defined and blurred in a series of small scale spaces.

Isabel Barnes Charlotte Burrows Emma Carter Fiona Carter Alexander Clarke Paul Cristian Rachel Earnshaw Paul Glade Henry Jiao Jimmy Lei Tom Lowe Anna Pinkney

Our second project sought to develop these themes further, in proposals for a new museum to display a specific collection of objects. Our group trip to Berlin was an opportunity to visit a number of galleries and museums and research a series of approaches in how different spaces define and manipulate the perception of objects by the public. For this project, each student has selected their own collection; and researched its history and context. The collections chosen include clothing, disobedient objects, timepieces, art works and scientific instruments. A collaborative workshop with the BA Culture, Criticism and Curation course at Central St Martins involved each student pairing with a group of curators to uncover how the public might engage with a wide range of different objects. The workshop culminated in the presentation and discussion of ideas for the curation of each collection. The final project proposals, offer a number of very different approaches to the role of a museum in the contemporary urban environment and incorporate a wide range of galleries, auditoria, research and conservation spaces to realise the propositions made.

VISITING CRITICS Rachel Boon Elizabeth Fisher Michele Giebelhausen Spencer de Grey David Hills Annabel Judd Andrew Marsh Lisa Shell Allan Sylvester Simon Tucker Robert Wilson

2 3

Section AA 1-200

4 3

Views of the permanent and temporary galleries

1 Tom Lowe 2 Anna Pinkney 3 Charlotte Burrows

4 Paul Glade 5 Henry Jiao

47 South - East Facing View

(top)

North - West Facing View

(bottom)

1 View from the Kingâ&#x20AC;&#x2122;s Cross approach

5 2

Curvilinear iteration

Current version

Curvilinear iteration

1 Paul Cristian 2 Isabel Barnes 3 Rachel Earnshaw

Current version

4 Fiona Carter 5 Rachel Earnshaw 6 Tom Lowe Interior of the display area

49 Interior of the display area

East Section through Project 1:125

section b:b

2 3

1 Paul Cristian 2 Jimmy Lei

3 Emma Carter

2 North

1 The site is unified by a material palette that centres on Corten steel. Over time this changes in patina from orange to a dark brown.

2 3

1 Isabel Barnes 2 Alex Clarke 3 Alex Clarke

4 Charlotte Burrows 5 Tom Lowe 6 Anna Pinkney

Views of the permanent and temporary galleries

North Facing Section

street approach

Entrance

1 Fiona Carter 2 Henry Jiao 3 Jimmy Lei

1 Paul Eldwin Glade 2 Henry Jiao

Y2 UNIT 3

PLAYTIME: LEISURE AND CULTURE

TUTORS Beatie Blakemore Mary Ann Steane Bobby Open

STUDENTS King’s Cross is undergoing rapid and large scale change in the form of the King’s Cross re-development masterplan. In the context of 2,000 new homes and 3.4 million square feet of new workspace, the studio considered the place of leisure and cultural activities in the city. The first project involved the design of a Youth Factory: a collection of spaces for sport and socialising; the main project was for a Music School with a public performance space. Both projects examined key recurring themes.

Charlotte Airey Oliver Baldock Silvia Cherneva Dominic Edwards Audrey Lejeune Rory Luscombe Hafizah Nor Benedetta Pacella Henry Robinson Francisco Shankland Jen Sutherland David Turner

Topography. King’s Cross interweaves layers of topography in ways that are both obvious and hidden. The ground surface of the street and public realm form a datum against which we encounter the Regent’s Canal, canal-side cycle and pedestrian paths, and mainline and underground rail infrastructure. How do we understand ideas of ground and landscape in such a context? Community. There is already a local community living around King’s Cross. What happens when thousands of new workers and residents arrive next door? Students considered connections between these diverse communities, offering ways of bridging between the two, and encouraging movement across and through the site. Threshold. The sites for the two projects offered rich opportunities for engaging with ideas of public space and the notion of threshold conditions. How we transition from one area to another, and how we might mark and celebrate these transitions, became key considerations. Acoustics. At an urban level, we encounter various acoustic conditions in a park, square or on a busy street. Mapping this acoustic range offered a greater understanding of how we relate to our environment, and the two projects presented possibilities for considering how we might attenuate, suppress or amplify such sounds. Heritage. King’s Cross is rich with industrial heritage. Is it enough to turn these iconic buildings into ‘exciting retail destinations’? How else might we engage with or reinvent these structures and spaces for new uses?

VISITING CRITICS Kieran Perkins Adriana Massidda Katy Marks Koen Steemers John O’Mara Spencer de Grey Eric Martin Raf Orlowski Tanya von Preussen Jamie Fobert Simon Tucker

The Music School brief included spaces for practicing, performing, socialising, teaching, and exhibiting, operating on the day-to-day level of solo and group practice and learning, as well as accommodating public events. Each student researched a specific client who would be in residence at King’s Cross. In the immediate vicinity, Central Saint Martins and King’s Place have established King’s Cross as an exciting location for arts education and performance. The Music School tapped into this cultural life, enriching the mix of activities in the area and contributing to the vibrancy of the public realm throughout the day and night. 56

4 SECTIONAL MODEL 1:100

Loadbearing brick wall throughout By using the same material on all floors, the building would have a unified, sculptural quality, much like a piece of music in itself, as the brief aims to suggest. Façade variation can be developed through a hierarchy of solar shading techniques (glazed, vertical fins, perforated brick) to avoid a daunting presence, though a feeling of solidity is desired on the exposed corner site. The height of diaphragm brickwork outlining the central performance space (two storeys) is limited by the inherent capacity of the material without adding vertical fins, though the upper floor rests upon it to add stability in compression.

1 Benedetta Pacella 2 Charlotte Airey 3 Audrey Lejeune

4 Jennifer Sutherland 5 Hafizah Nor View from Towpasth KINtG’S X SANCTUARY A tranquil oasis in the middle of the busy city of King’s Cross

PERSPECTIVES AS A WORKING INSTRUMENT

conical shape they trace. Compare to the wavelengths in operation, this can act to provide early or later reflections when more or less clarity is desired. The extent of timber used offsets and partially obscures the lower brick surrounding walls with negligible absorption (α = 0.04), further diffused by the tall volume, though their angled arrangement enhances listener envelopment crucial to capture the traditional intimacy.

QUEEN’S BUILDING, EMMANUEL COLLEGE

Three-storey, freestanding, oval in plan and with a performance space at its heart, the Queen’s Building (1995) is like a miniature of Hopkins’s earlier Glyndebourne Opera House. Designed for lectures, college ceremonies and chamber music recitals, its auditorium is a double height D-shaped room with a steeply raked block of 140 seats facing into the curve. Unusual for such a performance space is the natural daylighting capacity, though to remain sealed from the road acoustically there is no allowance for natural ventilation above ground floor and only the uppermost level has extensive glazing, so the building is otherwise heavily reliant on artificial lighting. The building configuration is optimal to reduce noise to auditorium from traffic; first and second floor rooms facing Emmanuel Street are most receptive to the external environment – and this is only visually and via passive solar heat gains. Otherwise the building generally seeks to maintain its own self-generating microclimate. The emphasis is on concealed services, in keeping with the stripped exterior finish. Internally a sense of visual intimacy is created between the players and the audience (short distance, good sight lines). All the surfaces are of relatively dense materials to avoid high frequency vibrations and there is not a built in central loudspeaker system as the performances of classical music and vocal and instrumental recitals are not normally amplified. Rear projection provides satisfactory results when the room must remain partially lit during the event. The multipurpose auditorium design accommodates differences by incorporating acoustic adjustability, particularly with regard to changes in reverberation time and is implemented in the form of tracked sound-absorbing curtains installed along the boundaries.

Entrance Render Looking either along the ground floor corridor around the void or to th central stairs inro the forum. By making this area as permeable as poss throughflow, creating a new highstreet which can be filled with music. looked into the rooms on the ground floor opening outwards to the pu well as inwards towards the void to maximise the chances of imprompt es.

New Public Amenities

Oliver Baldock | Portfolio | Year 2 | University

Page 26 | Project 2

The performance space requires a substantial front of house to cater for the potential number of people waiting to see a performance. These occasional spaces are open to the public and facilitate a relationship between the school and the multitude of residents, commuters and visitors who experience Kings Cross.

New Public Amenities

In Context How the entrance sits in context between the construction centre on the left with the saw-tooth roof and York Road tube station on the right which is currently disused. The entrance is set back and protected from the street, using the stepping down into the building to create a noise barrier against the traffic of the road. This open entrance also promotes a new highstreet through the building connecting the development and the residential areas. Oliver Baldock | Portfolio | Year 2 | University of Cambridge

Page 27 | Project 2

1 Rory Luscombe 2 David Turner 3 Henry Robinson

4 Jennifer Sutherland 5 Oliver Baldock 6 Dominic Edwards

1 2

1 Jennifer Sutherland 2 Rory Luscombe

62 3

3 Audrey Lejeune 4 Hafizah Nor

East-West Section, 1:200

KX SCHOOL OF INDEPENDENT MUSIC 1:200

SCHOOL INHABITATION

NORTH-SOUTH SECTION 1:500

EAST-WEST SECTION AS EXISTING 1:200

PROJECT 2

'THE PROCESS OF PRACTICE'

A SCHOOL FOR THE PRACTICE OF ATONAL MUSIC

A CONTAINER OF ACTIVITY

Continuing to draw on the industrial heritage of the area, the building form takes its inspiration from an abstracted interpretation of the warehouse/factory typology. Conceived as a container of activity, the buildingâ&#x20AC;&#x2122;s raised, regular form is encased by a bronze mesh screen. Similar to that of a factory, the internal activities are hidden from passersby but are presumed: in this case hinted at when the openings behind are revealed as the artificial light begins to dominate on overcast days or later in the evenings, highlighting the occupancy of the building. The bronze screen will gradually patina, displaying its aging as it takes on the more rough appearance and muted hue of the neighbouring industrial buildings on Granary Square. Internally, a more literal approach is taken, with the concrete core of the climbing wall and the trusses above the badminton hall and social spaces left exposed.

1 Oliver Baldock 2 David Turner

3 Charlotte Airey 4 Benedetta Pacella5 Henry Robinson 6 Francisco Shankland

School entrance and social space

Performance Space

5 >

Foyer

KINGâ&#x20AC;&#x2122;S X SANCTUARY EXPLODED AXONOMETRIC DRAWING

Visual Connections

6 Canal Level Central Bath Hot and Cold Bath Scented Bath Glazed Bath Private Bathersâ&#x20AC;&#x2122; Cafe Washrooms

Visual links are made between the split level front of house space, tied together physically by a giant staircase running between the existing arches, creating a unified foyer space when a performance is to take place. The performance space itself has the potential to be opened up to the bar area. The more private school spaces within the existing building still have a relationship with the public areas below.

7 Street Level Entrance Bath Changing Rooms Showers 3 Yoga Studios Yoga Changing Rooms Mezzanine Public Cafe Offices Washrooms

8 3

1 Audrey Lejeune 2 Charlotte Airey 3 Hafizah Nor 4 Oliver Baldock

5 David Turner 6 Dominic Edwards 7 Benedetta Pacella 8 Charlotte Airey 9 Hafizah Nor

entering the basement level through the slicing staircase and into the intimate world of brick arches

66 Approach to Music Venue

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 historical and theoretical aspects of architecture and urbanism Paper 2: Management, Practice and 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, 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 Lent term and lectures are given by members of the design teams working on these buildings. Students are required to keep a Case Study Notebook through the term which counts 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 for which they are expected to produce essays and carry out basic preparation. The Architectural Engineering course is arranged jointly with the Engineering Department and takes place in the Michaelmas term. It is wholly marked on coursework. Students work back and forth between design and analysis, a reciprocity that reinforces the relationships between subjective (design) criteria and objective (technical) criteria, in order to encourage designs that are robust, plausible and elegant.

Y3 UNIT 1

THE CUT

TUTORS Nikolai Delvendahl Eric Martin

This year Studio 1 has continued to explore the renewal of London’s east end, re-imagining the Empson Street Industrial Estate adjacent to the Limehouse Cut. A former industrial waterway, the Cut is a stretch of historic canal that connects Bow Locks in the north east of Poplar (Tower Hamlets) to the Limehouse Lock on the River Thames. The distinct form of the canal has contributed significantly to the development of the urban grain at the heart of Poplar.

ASSISTANT TUTORS Finbarr O’Dempsey Jose´ Silva

STUDENTS

As in previous years, there has been an emphasis on contextualising the studio’s work within a discernible interpretation of the physical and social conditions of the area of study. To help articulate this and promote the collaborative nature of architecture, a series of group research and urban design exercises were undertaken in the first term, leading to individual proposals developed in the subsequent terms.

Kate Altmann Emmy Bacharach Alexander Baker Susie Cox Beth Fisher Andreas Gorm Pontoppidan Mullertz Michael Gozo James Green Humza Hamid Naliyawala Annie Hutchinson Caroline McArthur Priti Mohandas Ann Oduwaiye Aska Welford

The students began the year working in small groups to compile a research book which presents a portrait of the Limehouse Cut and its environs; a collective account encompassing not only the historic development of this part of London, but also the contemporary experience of the communities that call Poplar their home. Recognising the Cut as significant public amenity and responding to the needs of an increasingly complex and growing local population, the students proceeded to develop a coherent masterplan for the Empson Street estate proposing a new civic centre for Poplar. Through their research, the students identified a number of organisations involved in local arts and cultural activities that have already taken root on the Empson Street estate, re-appropriating warehouses and the adjacent yards, occupying these spaces with new forms of production. They observed how this phenomenon of re-use stimulates accelerated redevelopment and the urban intensification of an area that has suffered from waves of decay. This was acknowledged as the first phase of the masterplan and partly informed which of the existing buildings were retained on the site. In keeping with previous years, students used the model of social enterprises as a reference point in the development of their individual project briefs, speculating about the role that these groups have as drivers of community-based regeneration and property development.

VISITING CRITICS Spencer de Grey Di Haigh David Howarth Graham Morrison Martha Rawlinson Tim Makower

The resulting proposals form a range of characterful and exciting new buildings that together create a new civic centre; an eclectic piece of city that boasts a range of cultural, educational, housing and commercial uses, the students endeavouring to meet the needs of those communities neighbouring the Limehouse Cut and addressing some of the challenges facing the area amidst the significant transformation of Poplar and the east-end. 70

EMPSON POST INDUSTRIAL ESTATE

B: BETWEEN LAF AND MARKET BUILDING

the mews

ground floor commercial

media centre

studios/offices studios/offices

north market

73 EMPSON MEWS

E M P S O N CO U R T YA R D

Empsom estate masterplan: bow canal centre cafe entrance FROM BRIDGE

Empsom estate masterplan: bow canal centre west elevation facing canal basin

WEST EAST ELEVATION, SECTION, 1:100 1:100 0

Empsom estate masterplan: bow canal centre CANAL LEVEL BOAT YARD VIEW

2 view from basin

Kate Altmann - Empson Library

Emmy Bacharach - Bow Canal Centre

AN INDUSTRIAL EXPRESSION

BOW CRAFTS WORKSHOP

CONTINUING THE TYPOLOGY

BOW CRAFTS WORKSHOP

FRAMING THE ENTRANCE BOW CRAFTS WORKSHOP

10m

EAST ELEVATION

BOW CRAFTS WORKSHOP 1:100

Alex Baker - Bow Crafts Workshop

Susie Cox - Craft Education Centre

An Engulfing Polished Concrete Cyclorama

Bow Broadcasting / Primary Film Studio

Auditorium/Viewing Room Sketch

A Vantage Point to Capture the Balfron Tower and Canary Wharf

Bow Broadcasting / Public Lookout

Day-time View from North

Andreas Gorm Pontoppidan Mullertz - Bow Broadcasting Bow Broadcasting / Masterplan Entrance

Beth Fisher - Basinâ&#x20AC;&#x2122;s End Swimming Centre

Third Floor Multi-purpose Studio/Rehearsal Space

Visualisation of Eastern Facade and Entrance

Ground Floor Eastern Entrance Foyer visualisation

James Green - Bow Polytechnic College

Michael Gozo - Hamletâ&#x20AC;&#x2122;s Two Fingers Section A 0

10m

F R O M S E E D TO TA B L E

View from West Bridge

Humza Hamid Naliyawala - Bow Sports Centre

Annie Hutchinson - From Seed to Table

View of first floor

D E VO N M E W S C O M M U N A L FACA D E

SECTION THROUGH FORUM 0m

Priti Mohandas - Empson Multi Faith Centre

Caroline McArthur - The Peopleâ&#x20AC;&#x2122;s Kitchen A K I T C H E N O N D I S P L AY

Life Around the Courtyard

interconnecting a mix of uses and typologies, a hidden shared space

the layered life of the courtyard and the inner life of the block

Ann Oduwaiye - The Cardboard Forum

Aska Welford - Furniture Works

a facade composed of multiple elements

4. Choosing a New Chair

Y3 UNIT 2

TUTORS Peter Karl Becher Karin Templin

HOUSING AS CITY MAKING:

STUDENTS

URBAN FIGURES AT MOUNT PLEASANT

Hannah Benton Onusa Charuwana Janine Dela Cruz Abi Johnson Kyriacos Koumi Charlotte Leahy Myran Lynch-Bathgate Suraj Makwana Zoe Panayi Ania Podlaszewska James Powell Rukmini Raghu Zhixuan Zhai

Housing makes up the majority of fabric in any given city and, therefore, requires an active engagement with the city rather than a complete retreat from it, a constant dialogue between the residential unit and the city at large. Successful existing urban residential fabrics/ types offer lessons in the resolution between polar needs of the public nature of the city and urban space and the private, domestic refuge of the individual. What is the relationship between residential building type, public space and urban structure? What contribution does housing make to the urban form and civic art, to the creation and success of the public spaces and urban structure of a city? Historically it has been the key definer of streets, squares and urban ensembles within the city. However, in the past century the city making qualities have often been ignored which can be seen in the lack of examples of successful urban spaces generated by late 20th-21st century urban housing developments.

VISITING CRITICS

With roughly a quarter of London’s population living in privately rented accommodation, a number due to grow as a result of ever increasing property prices, attention must once again be given to the role that privately rented developments play not only in the provision of successful homes but also in the places they create.

Alfredo Caraballo Bruno Marcelino Koen Steemers Timothy Smith Spencer de Grey Ros Diamond Ingrid Schroeder Alex Ely Sylvia Ullmayer Patrick Lynch

Studying the masterpieces of urban design of London and Europe, the studio will analyse different types of public spaces and the residential typologies that constitute them. We will investigate in greater detail the quality and character of the public spaces generated by residential developments, the negotiation between public space and the private domestic interior whilst addressing issues of privacy and proximity within the city and the city making. Royal Mail seeks to redevelop its Mount Pleasant site located in Clerkenwell, London in order to “provide much needed new housing in the area, particularly affordable housing and family housing, open up the site with both new and improved streets that make better connections between the Mount Pleasant and surounding areas, create new public spaces for local people, and promote high quality design for buildings and public spaces”. What lessons can be learned from existing successful urban spaces that can be applied to creating a new clearly defined residential quarter in the heart of London?

Mount Pleasant Square

Hannah Benton

Market street leading to the museum square

two-way relationship between the garden and the house

Onusa Charuwana

Janine Dela Cruz

The mansion block Development of the party wall builidng facade

1:100 east elevation: the mansion block

Abi Johnson

View from the square

Kyriacos Koumi

Apartment Unit Urban Presence: The Street

Three Bed, Five Person Family Apartment

Requirements: - Open plan kitchen, dining + living space - 1 Double Bedroom, 1 Twin Room + 1 SIngle Bedroom - Family Bathroom + Ensuite - Spacious Entrance Hall with enough storage for all the familyâ&#x20AC;&#x2122;s shoes, coats and bags. - Outside space - loggia and access to communal deck.

3b5p Apartment Floor Plan 1:50 N

Three sides of a Triangle

Expressing the Plinth

Charlotte Leahy

Myran Lynch-Bathgate

Living Room - Loggia - London Creating a connection between the living space, the communal terrace, and the street beyond.

Perspective looking North towards public park

Perspective looking North East towards Farringdon Road

Perspective looking North West framing the pub

NARROW

STEPPED

STREET

COLLAGE INTERPRETATION The collage approach to massing provided a basis to design derived from fragments. The benefit of this results in a series of forms responding directly to the underlying historic development of the city. By interpretting the modern and traditional forms, the new designs can both respond to a new context but do not need an entirely reinvented design. The diversity achieved allows the potential to replicate the organic formation of the city. Furthermore the arrangement of fragments allows for a more theatrical transition through streets and public spaces. Early collage iteration

Initial concept of main square

FLAT SECTIONS scale 1:50

Kjellander + Sjoberg reference scheme, appearance of varied housing in a designed block Collaging fragments of the city

CITY

Suraj Makwana

UR B A N F I G U R E S AT M O U N T P LE ASA N T H ou s in g a s cit y m ak in g 98

STEPS

STAGE

SET

Zoe Panayi

Block and the urban figure Final View 2

At the north- west end of the square

Block and the urban figure Final View 1

Ania Podlaszewska

At the centre of the square

100

James Powell

101

Familiar Spaces

T h e

Familiar Spaces

Sq u a r e

Scheme Perspective A ring within a ring

Rukmini Raghu

Zhixuan Zhai

102

103

Y3 UNIT 3

TUTORS Mike Tuck Peter Fisher

MAKING IDEAS

STUDENTS Awut Atak Enrico Brondelli di Brondello Ella Clarke Sam Clayton Zeid Ghawi Rebecca Hazzard Kate Shipley June Tong Val Tongo Harry Turner Rebecca Woodward

Materials and making have shaped architectural ideas throughout time and are the essence of how buildings are formed and experienced. This year Studio 3 explored the relationship between construction, craft and the making of cities and buildings. The studio was concerned with every scale of making, from making urban form to making by hand. A central theme within the studio was how ideas are generated, how those ideas are translated into material built form and how that process of translation modifies originating ideas. The year began with a short and hands-on project â&#x20AC;&#x201C; Ten benches in Ten Days â&#x20AC;&#x201C; that reimagined the role of making as an originator of ideas rather than as the final act. Rapid, iterative and intuitive in nature, central to the project was how moves are recorded, understood and continually developed.

VISITING CRITICS

The main project for the year adapted a real-life brief for the rebuilding of the Walworth Town hall in South London, which was devastated by fire in March 2013. The grand Victorian architecture of the now derelict building clearly defined its Victorian civic values through its ornamental facade and allegorical carvings. It was later decorated with stone carved phrases of enlightened 1930s ideals and Studio 3 speculated on the next episode in the life of the site.

Denise Bennetts Nick Dodd Simon Erridge Dan Kew Ben Lovedale Giles Smith Elliott Sully Percy Weston

The students were asked to develop a building within a clearly defined block structure to either replace or supplement the existing town hall. The accommodation and scale were clearly defined by the remains of the existing building and the given structure of the site, thus allowing propositions to be developed earlier in the year than might otherwise be the case.

SPECIAL THANKS FSE Group (foundry) Bulmer Brick and Tile Simon Hay at the Brick Development Association

Alongside the democratic functions, the typology of the Walworth Town Hall is inherently a hybrid of programmes containing a library, space for the display of the Cuming collection alongside flexible space that can be used for community and civic events, exhibitions and performances. Within the context of a rapidly changing area of South London the studio questioned what it is to make a civic presence in a diverse and multinational context, and how our attitude to making can accommodate the differences inherent in the locality.

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105

Civic Thresholds

A New Square for Walworth

Debating chamber Offices and meeting space on the first and second floor

Cafe Community Hall and One Stop Shop

The Masterplan Square is fragmented by the Town Hall buffering the new Heygate High Street, a busy commercial high street from the historic Walworth Road

T H E TO W N H A L L A N D O P P O RT U N I T Y TO R E B U I L D

Precedents

A New Square for Walworth

The Town Hallâ&#x20AC;&#x2122;s Atrium ties the varying usages of the building together, allowing people to cut through the building.

A New Square for Walworth

Bonn Square, Oxford - Graeme Massie Architects

Oozells Square, Birmingham - Townshend Landscape Architects

Murcia Town Hall and Square, Spain

Gothenburg Law Courts and Square

The Masterplan Square is fragmented by the Town Hall buffering the new Heygate High Street, a busy commercial high street from the historic Walworth Road

Awut Atak Precedents

107

Elevation, Heygate Street 1:100 10m

Battens restrict exposure to direct sunlight

Sloping roof gives biased access to stable North light

Pre -cast concrete ‘lattice’ roof structure, assembled from short-span beams, to align with column ‘grid’ , 400mmx500mm, grid spacing at 4.5mx4.5m

Acoustic glazing surrounding meeting space, attached to supports above, below

M e e tin g Room

Precast concrete ring beam with in-situ cast floor supports

Concrete ring beam

Loadbearing brick outer walls, 500mm

Public G alle ry

Concrete with pre-shaped steel deck, cast in-situ

Precast reinforced concrete ring beam to be cast in sections, assembled on site with exposed rebar for in-situ cast floor support beams

25mm acoustic plaster render on inside of drum

De batin g Ch ambe r

Arch posts to contain steel reinforcement

Rail with 200mm post spacing allows view into drum while separating primary and secondary circulation spaces

Ella Clarke

Enrico Brondelli di Brondello

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109

ORMVIEW

SECTION CUTTING THROUGH BUILDING AT 1:100

SHOREDITCH CHURCH

C I TY H A L L

E L E PH A N T A N D C A S TL E

H AY G AT E E S TAT E

WA LW O RT H TO W N H A L L

The building’s philosophy assumes three main principes. The meeting of geometries, the subtraction and creation of voids and volumes and the exposure, interaction and connection of these different volumes. The spaces created through this subtraction each represent a key member in the community. The voids created within the building act with the intent to familiarise the public with the community and its affairs, which has been represented microcosmically in the town hall.The structure is punctured to open itself up creating a more dignified yet humble internal space that does not impose it’s presence on the already fragile community as opposed to the adjacent crass commerce currently underway.

PUBLIC ATRIUM SPACE

“ To e m b r a c e c i v i c s p a c e w e h a v e t o a c c e p t c o n f l i c t w i t h i n i t . T h e b r o k e n m i d d l e w h e r e t h e r i o t s e r u p t e d i s n o t e a s i l y f i x e d ; s o c i a l i n e q u a l i t y is stretching not reducing... Clearly the political solution to the reduction of social inequality is out of the direct hands of urbanists, b u t w e d o h a v e t h e o p p o r t u n i t y, a n d I w o u l d a r g u e r e s p o n s i b i l i t y, t o b e b r a v e i n r e s i s t i n g t h e c a l l s f o r e v e r f i r m e r l i n e s o f d e m a r c a t i o n a n d ever more tools of urban control.” J e r m e y Ti l l , T h e B r o k e n M i d d l e : T h e S p a c e O f Th e L o n d o n R i o t s

1:50

A threshold study beginning to show the transition from Wansey Street/ Walworth Square to the internal open space through punctures in the mass.

Zeid Ghawi

Sam Clayton 1. 2. 3. 4, 5. 6. 7. 8. 9. 10. 11.

Flexible Office Space/ Exhibition Extension Museum Exhibition Reading Room Library Reading Room Chamber Open Plan Office/ Event Space, Plant Rooms Roof Terrace Open Plan Office, Presentation Centre Cumin Collection Exhibition Library Bar | Coffee Kitchen | Cafe | Busker’s Corner Open Plan Office/ Event Space

Courtyard Section Facing South

110

10 m

1:100

CONCEPT

111

Wansey Street View

South elevAtion This shows the health centre next door with the new roof terrace features peaking above the top

10m Scale 1:200

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

AxonometriC 1

Theatre Interior

A dance class taking place in the theatre

A council meeting taking place

Kate Shipley

Rebecca Hazzard

112

113

Circulation around Council Chamber

Circulation around Council Chamber View from circulation into Council Chamber

Atrium

Council Chamber

Atrium

- 19

02 .

STR YH

ALL

- 18

-A

rchi

tect

Hen

rvis

OLD TOWN HALL COMPLEX Exploded axonometric drawing 1:100

Atrium

Extension of the Public Square Council Chamber Above

Stavros Skordis

Grace Taylor

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3. V I E W I N T O O N E S T O P S H O P

V I E W F R O M W A L K W AY

5. V I E W I N S I D E P U B L I C F O R U M

V I E W U N D E R N E AT H C H A M B E R

Overseeing and Visibility GF

Appropriable Space

Bridging the Divide

Removing Barriers between Authority and Class Divides

Val Tongo

June Tong

V I E W F R O M W A L K W AY

SHOWING TRUSS

116

117

Connection

Key Visual link to Central Courtyard From Walworth Square

SHOWING TRUSS

Walworth Road

Walworth Road West Elevation

Walworth Square

Formal Concept The Expression of Key Elements

A Place for the community

yadyrevE civiC ehT

Exploded Axonometric Early Design Iteration

Approach from Elephant Park

Walworth Road Approach

Key Design Moves in Plan

Initial Massing Model 1:200

Rebecca Woodward

Harry Turner

10m North Elevation at 1:200

SECTION B:B

118 1:100

1:100

119

1:100 Section 0m

TUTORS

VISITING CRITICS

Ingrid Schroder Alex Warnock-Smith

Miraj Ahmed Max Beckenbauer James Binning Nick Bullock Barbara Campbell-Lange James Campbell Mark Campbell Peter Carl Darryl Chen Melanie Dodd Joris Fach Henry Fletcher Kathryn Firth Emily Greeves Sean Griffiths Rod Heyes Tom Holbrook Lefkos Kyriacou Emma Lees Anna Mansfield Udayan Mazumdar François Penz Chris Pierce Wendy Pullan Lawrie Robertson Richard Sennett ´ ´ Scalbert Irenee Alan Short Simon Smith Emily So Kiril Stanilov Mary Ann Steane Koen Steemers Max Sternberg Minna Sunikka-Blank Miranda Terry Carlos Villaneuva-Brandt Dacia Viejo Rose Tom Weaver Nichola Barrington-Leach Francesco Zuddas Ian Hodge

STUDENTS Fahim Ahmed Thomas Aquilna Xu Bai Emily Carmichael Jensen Choy Georgie Day Anna Folejewska Alexander Hart Ben Holmes Daniel Holmes James Houston Anastasia Orphanidou Andreas Papallas Xenia Pohl Anna Rowell Rebecca Sawcer Alec Scragg Benjamin Taylor Arthur Trieu Bethan Watson Jan Ali Felicia Anderson William Anderson Ei-Lyn Chia Senem Cilingiroglu Jonathon Curtis Janet Hall David Jones Stefanie Kuhn Georgios Mitzalis Natalia Petkova Sarah Rees Charlotte Robinson James Scrace Sofia Sfakianaki Chloe Skry Jack Stafford Boi Thi Tram Wendy Van Kessel

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MAUD

MASTERS IN ARCHITECTURE AND URBAN DESIGN (MPHIL)

The core focus of the MPhil in Architecture and Urban Design, a RIBA/ARB part II Masters degree, is a hybrid of independent research through design and a structured technical learning resource. It is designed for the students that join us with a distinct area of interest and provides guidelines to their research, access to specialists of various fields relevant to their studies, and a matrix of deliverables that foster an informed body of work. The course places a strong emphasis on design as a means of engaging with areas of academic discourse and contemporary professional debate. The course is structured in two parts, the residential period dedicated to the intensive study of the cultural, theoretical and technical factors shaping each thesis topic, explored through a rigorous set of design tests and culminating in a full written thesis and project portfolio; and the second, a fieldwork period (after two terms of study) in which the implications of outline proposals are examined on site or within a professional context. These components provide an opportunity to explore distinct design approaches in various settings, whilst offering a sound framework to pursue meaningful research. The two stages of the course address two scales of investigation, the first focusing on a specific design response to a carefully examined physical and cultural context, and the second reflecting on the larger impact of this proposal on the strategic reconfiguration of the surrounding environment, and the factors that might lead to its realisation. We treat every project as potentially ‘live’ and encourage students to carry their projects through to fruition after their graduation within the structure of the Cambridge Design Research Studio.

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Emily Carmichael (Y4) - Swansea House & Town : Social Housing as Urban Infrastructure

Anastasia Orphanidou (Y4) - Plastic Europe: the case study of Almeria

The project is focused on testing alternatives to the UKâ&#x20AC;&#x2122;s dominant ethos of urban regeneration. Using live case studies in Swansea, the project critiques the current use of housing and planning policy and suggests new physical and economic designs for the large scale building of social housing. The design project explores how these new pieces of city can be used to negotiate the program and dramatic topography of the city of Swansea. The project carries an emphasis on urban design as a propositional tool for shaping the outcome of development. With other cDRS housing researchers Emily is currently involved in preparing counter-demolition proposals for Council estates in Lambeth.

The necessity of providing plentiful and seasonal food throughout the year across the globe has made national borders transparent. However, the movement of people is still heavily constrained, entangled in political, economic and social implications. This project compares the movement of food with the movement of people in and out the EU, especially in the Mediterranean. Almeria, Spain is a meeting point of irregular migration and intensive agriculture, therefore the environmental and social conditions that allowed the province of Almeria to thrive are investigated. The design explores how new water infrastructure and building upon the current co-operative system could address the needs of both the farmers and workers to achieve a more sustainable model of production;a model which could potentially be replicated in other areas towards a more ethical and equitable food system.

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Jensen Choy (Y4) - The Food Network - An Urban Framework for a Sustainable Food System

Bethan Watson (Y4) - La Rinascita dell’Aquila - The rebirth of L’Aquila using cultural heritage as an urban catalyst

Whilst Hong Kong celebrates itself as Asia’s food mecca, in reality, its food system is deeply unsustainable. The rise of globalisation has displaced major parts of the food chain beyond the boundaries of the local region, and its management has become predominantly a matter of foreign and rural policy, distinct and treated independently from urban management and from urban issues such as resilience, sustainability, socio-spatial and infrastructural challenges. As the metropolis continues to adapt itself to satisfy the growing demands of the city, the mounting social, economic, political and environmental pressures call for a review of our urban food system. In response, The Food Network shapes a vision of an alternative model through an extensive set of strategic interventions, exploring the role of the built environment in creating a more secure, sustainable and resilient urban future.

Following a devastating earthquake in the Abruzzo region of Italy in 2009, L’Aquila - originally left as an abandoned ruin - also suffered post-earthquake inflictions as ‘temporary’ housing was unsuitably located far from the historic town centre with insufficient infrastructural support. The displacement of the inhabitants has led to a significant decline in the population of the medieval centre, leaving empty buildings to fall into disrepair. To engender a return to the city centre - vital for its own preservation - the city would once again engage with its history. The project describes a series of time-frames, ranging from temporary to permanent interventions, to bring people back quickly whilst also engendering long-term return. The interventions aims to draw people back from the city’s periphery by activating the abandoned space of the centro storico to create a shared centre for culture and learning, that in turn may encourage city-wide regeneration.

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Alec Scragg (Y4) - The Idea of Landscape in the Unofficial Countryside

Daniel Holmes (Y4) - London Power

The project explores the role of design and planning policy within the Essex to explore how ideas of landscape have been used to promote developments lacking meaningful public space which are representative of a more private and individual outlook to suburban living. Through exploring the ongoing narratives of dispossession within the English landscape and contrasting this to an idea of Essex as a space of unofficial use, the ad-hoc and obsolescence, the project explores the way a new landscape aesthetic can be used to inform issues of regional sustainability and more effective govervance between local places.

The main premise of the project is to explore the role of architecture in helping to imbed renewable decentralised energy centres into urban environments due to this being part of the UKâ&#x20AC;&#x2122;s strategy for meeting our future energy demands. The project is not only a response to global warming, fuel security and our ever depleting non-renewable energy resources, but also endeavours to tackle fuel poverty that is prevalent in the areas of Tower Hamlets and Newham where this proposal is situated. This aspiration is mainly pursued through exploring the implementation of combined heat and power systems in this area as they are more efficient due to them allowing the excess heat from electricity production to be used to heat building space and water. However district heating networks too often rely on fossil fuels, which is why the increasing emergence of anaerobic digestion for these energy centres is critical as it provides an appropriate urban fuel that deals with waste at source.

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Georgie Day (Y4) - The ÂŁ1 solution to the housing crisis: a cooperative approach

Andreas Papallas (Y4) - Terra Nullius: Questioning Normality. Urban rapprochement tactics for the city of Nicosia

This two-year MPhil is interested exploring cooperative housing as an alternative to the mainstream owner-occupier model that has dominated housing policy and since the late 1970â&#x20AC;&#x2122;s. It argues that the cooperative housing model, steeped in anarcho-communist theory, is capable of generating not only better housing, but providing the context for richer, more fulfilled, more egalitarian lives. This thesis develops a political strategy based on the interception of state assets being sold to developers, which can be re-used and renovated as cooperative housing. The approach has symbolic value, since the it marks the transfer of social welfare provision from the state to cooperatively led organisations such as is the long-term aspiration of the wider cooperative movement. I have also been developing a radical set of design and construction processes which meaningfully enable residents to be co-creators of their own environment.

This design and research project builds on the notion that conflict is intrinsic to all cities as a form of sociation and is embodied in its architecture and urban structures, as well as in societal processes and the psyche of its inhabitants. In order to examine this notion, we will embark upon a journey in Nicosia, the divided capital of Cyprus. A city where the two predominant identity groups, Turkish Cypriots and Greek Cypriots, distinguished by differences in religion, language, perception of the past, and aspirations for the future, have been separated for half a century. The theory that underpins the project stems from sociological ideas describing human perception of the social positive as a manifestation of a friction of opinions rather than the absence of conflict. In consequence, the project argues for conflict transformation rather than conflict resolution in order to achieve rapprochement between the estranged communities. The normality of living in conflict is questioned through an in-depth understanding of the Cypriot site and is used as a methodological device for implementing change and implanting urban interventions in the ambiguous territories of the UN buffer zone; the terra nullius.

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Arthur Trieu (Y4) - Resilient Vernacular Arising from Technology Transfer

Rebecca Sawcer (Y4) - Home-Grown Housing

This research project argues for a re-thinking of post-seismic reconstruction and repair in historical buildings. Many heritage sites in the world have sustained intense earthquakes with substantially minor damage. All these structuresâ&#x20AC;&#x2122; resilience was owed to traditional construction techniques and materials, namely masonry and/or timber. Learning from these, the design develops around an anti-seismic architecture by recovering ancient durable and proven building methods, in order to preserve vulnerable heritage devoid of earthquakeresistant construction.

It is my hypothesis that the rationalization and development of the UK timber industry would provide an ideal solution to the countryâ&#x20AC;&#x2122;s impending housing crisis. The reasons behind the underutilization of timber within UK construction are considered and the rationale behind the pessimistic attitude, which has led to a nationwide aversion to an otherwise global industry, is addressed. I argue that the utilization of modern engineered timber products, manufactured from home-grown timber, provides a sustainable solution to the housing shortage, that could regenerate our deteriorating city fringes and avoid the current reliance on imports.A marked change in the prevailing public attitude towards wood needs to occur in order to kick-start the timber industry into making the investment required in both craft and engineered products. By understanding the historical perspective of the current predicament in the timber industry it is possible to produce the sea change in construction material usage that would enable a timber based sustainable solution to urban housing issues. My accompanying design work utilizes cross-laminated timber construction for urban residential schemes, to create a specific architectural language that stems from the advantages, and addresses the drawbacks, of the material; avoiding the tendency to mimic standard concrete and steel blocks, thereby creating an awareness and demand for these products.

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Anna Rowell (Y4) - Liminal Informality: The critical intersection between top down and bottom up urbanism in Mokattam, Cairo

James Houston (Y4) -Interface: A study of Conflicting Identities

Here I investigate how a large scale infrastructure project can respond sensitively to the complex economic, social and political context of Cairo and engage proactively with Mokattam’s informal physical structure. This community exclusively operates Cairo’s informal waste management system, yet faces continued system-level inequality. When positioned, suitable action and a capacity to act seem impossible due to the dangers of dismembering an exceptionally complex set of relations and processes. The danger of a direct approach is an ‘aestheticisation of poverty’, a regeneration of space rather than place, the built environment and physical amenities rather than people’s capacities or livelihoods. As a result, I will attempt to counter the spatial marginalisation of the Zabbaleen via a stabilisation of the Mokattam cliffs as a bold mediation between bottom up and top down development.

The Cupar Way wall in West Belfast sits as a line of symmetry between two opposing worlds. On each side families live within the routine workings of segregated daily life oblivious to the parallels only metres away. To become an Interface an exchange must occur. As ‘the other’ begins to permeate through, a shared humanity is realised and Belfast breaks out of its mould.

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hospital extension

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Design Development

Felicia Anderson (Y5) - unDiving the sky: Stitching up the Mexican U.S. border

Sofia Sfakianaki (Y5) - Restorative Urbanism

In order to investigate the Mexican U.S. border condition thoroughly it needs to be first broken down into the layers. At a territorial scale the connection is between two countries, and the government policies that influence either side of the border individually. The aim of this project is to design a set of interventions which activate cross border activity for binational, bilingual development.

Restorative Urbanism explores the impact of well-being on architecture. It involves discovering how well-being can influence and challenge the design and decision making process. All the theoretical considerations of this project are elaborated through a case study in Athens to demonstrate research and theory in an applied setting. The project proposes the reactivation of abandoned spaces in Athens through a well-being design frameworkâ&#x20AC;&#x2122; to provide a practical as well theoretical urban revitalization.

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Chloe Skry (Y5) - Post-War Shifts, The Continuing Discourse on Centrality: Harlow New Town, UK

David Jones (Y5) - Icebergs and whales: the metaphoric quality of the ground plane in city-making

Policy shifts since the 1940s have greatly altered the mechanisms for funding the creation, renewal and maintenance of town centres. The resulting moves made by public and private bodies and various partnerships thereof are read through a single town, Harlow. As one of the New Town developments, the original welfare state intentions for this heavily zoned town greatly mismatch with the resulting centre that was built over the next thirty years; the variations in the developing plan clearly show these rapidly changing political values. Out of town retail, housing and business parks continue to be developed for greenfield sites at the edge of the town despite a quickly vacating retail centre. This project proposes the merging of a proposed science park as part of Harlow’s recent designation as an Enterprise Zone with the town centre as a more liveable strategy for regeneration.

London’s megabasement boom is documented through what is likely its most expressive stages in Kensington and Chelsea. The designs represent extraordinary potential, specifically in their treatment of the ground plane. The so-called ‘iceberg home’ is firstly examined socioeconomically, and the trend is justified amid a super-super-gentrification process. However theory on the museum is also drawn from heavily: to what degree does excavating beneath a listed building lend it artefact-status and leave it haunted like an abandoned city or a taxidermied whale? An appropriate design process is used to develop and test the experience of the megabasement through a series of proposals.

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Will Anderson (Y5) - The Localism Roadshow

George Mitzalis (Y5) - Remnants: shadows of the market in a street in Athens

The Localism Roadshow is a mimetic project which tells the story of a conflict in English provincial planning, a three-way mêlée in Sussex fought through the scrambled egg of the Localism Act, free range egg of course, as specified by the South Downs National Park. The percussive, concussive and fragmented effects of the Localism Act’s detonation have caused an inversion of its principle aims: feuds and allegiances have emerged, in places dating back to the English Civil War and stretching to the South African property market. This is a situation, controversially, inextricably, linked to the rise of the exhausted/broke volunteer, the gate keeper, the parish chair, the spy, the informant, the 60 quid candle, the trendy vicar, the developer’s Audi, the inadequate local housing allowance, the baby faced planning officer, the laconic national park bureaucrat, the old colonel, the DFL’s (down from London)… the story goes on in Sussex.

A street in Athens. Crowd marching. Chants, clashing. Smoke. Action and reaction. Remnants. Shadows of the market that moves. People. Their lives looming behind the awnings. Concrete. Traces of a city trying to hold on to its fragile existence. Fragments. Time.

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Jack Stafford (Y5) - Timber Hybrid - Evolution versus Revolution of Timber Structures

Fahim Ahmed (Y5) - Future-Proofing Bangladesh

Timber frame construction only currently accounts for an 8% market share and, whilst the UK is only 20% self-sufficient in timber supply for the construction industry, this figure is set to double over the next 15 years. Designing a system, adaptable to different scales of construction, and proposing a set of accessible and universal guidelines for the growing self-build market is a key aim of this study. The intention is to develop an architecture at a highly detailed scale, reattributing the physical connection of planes, surfaces and joints that work together to define and contain space. By stripping architecture back to the fundamental physical and metaphorical dispositions of the joint, and by reconsidering the principles of prefabricated hierarchy in timber design, the use of standardised materials and a new application of knowledge could begin to suggest a shift towards a new system of production. A shift that that could begin to reconsider the role of timber within the future of our architecture.

The frequently flooded coastal regions of Bangladesh have over the past decades forced affected people of the country to seek refuge towards the larger centrally situated cities for habitat and work. Within the next seventy-five years, the country will lose a significant portion of its coastal region due to sea-level rise and intensifying floods and it is expected that twenty million people would have to be relocated if the country and its government were not take necessary actions to prolong the safety of its inhabitants. The nation has at the same time seen an economic growth through the expansions of garment industries. However, natural hazards and the lack of space within larger cities have shown to be a threat to the growth of the industry. Failure of transport caused by political conflicts and natural hazards have exposed weaknesses causing great economic losses. The research intends to look at how industry and infrastructure can be re-configured to create a more sustainable future for the country and its assets.

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Senem Cilingiroglu (Y5) - Cosmopolitan Berlin: An Analysis of the ‘Multikulti’ Experiment and its Built Environment

Thi Tram (Y5) - Living with Water: Floodscape and Settlements in the Mekong Delta

Unprecedented levels of globalisation has brought everyday life in cities to the forefront of discussions regarding multiculturalism and ‘living together.’ The city is, after all, produced and reproduced socially, embodying a vast range of power relations, and revealing cosmopolitanism through spatial policies and realities. Between Chancellor Angela Merkel’s assertion that the ‘multikulti’ project has “utterly failed,” and internationally popular neighbourhoods boasting ‘hip’ bars and death-techno clubs adjacent to döner shops, Neukölln Berlin is an especially interesting location to analyse to what extent the urban fabric aids and hinders multiculturalism.

The way cities and towns formed on and along the waterways denotes a new technique that will transform human perception of floodscape. climate change as inevitable, and seeks to investigate the positive opportunities created by it. Ancient land reclamation approach to settle closer to the water unveils the spatial potential of Settlements in accommodating South East designed around cyclical water rhythmof the offlow the monsoon. Tracing back the more Asia than justwere agriculture and aquaculture activitiesaalong its perimeter. The sedimentation now seasonal become a narrative for a twenty-first century mechanism that historic urban fosters and sustainsDelta an ecological well as an emergent strategic approach indicates in which the new the typological characterisation the waterscape would be realised to enhance theof spatial patterns of the Mekong andurbanism, how asthey blend into nature adaptive andof transformational capacity such an aquatic quality of an otherwise territory of concrete defences and barriers territory. A significant proportion of the Delta’s population has been living with floods longer then the crisis of the current rise in sea levels. The challenge now is not simply to preserve the romanticised townscape, but also is to learn from the vernacular adaptability and consider traditional approaches as a new radical resilience.

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Mekong Island In an era of rising sea levels, emergent island is more common landforms in future geography? Through investigating the potentials offered by a changing world, the project strives to embrace

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Stefanie Kuhn (Y5) - The Accommodating City: Enabling Environments for the Ageingurbanism in Mokattam, Cairo The UK population is ageing. Though there are challenges to be faced, the demographic shift should be seen as an opportunity which could bring innovative solutions to many current socio-economic challenges. This thesis explores how a holistic approach that considers age-friendly design at both the micro and macro scale within an inner-city neighborhood could help both encourage inter-generational communities and enhance elderly Wellbeing.

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Charlotte Robinson (Y5) - Vernacular Modern: Revitalising the Living Heritage of the Casbah, Algiers This project examines the relationship between vernacular heritage and urban modernity, with a particular focus on the post-colonial condition of the city of Algiers. The theoretical study explores methods to revise concepts of â&#x20AC;&#x2DC;modernâ&#x20AC;&#x2122; to appreciate and respect the heritage and local culture of cities. This understanding forms the basis for a design project which aims to generate a sensitive yet resolute architectural language, strongly grounded in a social and political understanding of the urban condition. The project is to establish a teaching school for building skills in the Casbah of Algiers, the traditional Ottoman built city which has suffered continuous civil unrest, poverty and terrible building ruin post-independence. The project aims to bring the Casbah to be a functioning part of the modern city, encouraging local industries which will dually serve to build the local economy and provide skills to aid the protection and maintenance of the historic building fabric, promoting the urban heritage of the Casbah as a symbol of Algerian tradition.

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GROW BED

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James Scrace (Y5) - Re-imagining post-industrial futures - an integrated regional resilience for The Humber Today, the current imbalance in society and mass social deprivation present particularly in former industrial heartlands located in the North of the UK, is one that is hard to ignore. My design thesis is focussed in Grimsby, a large town in The Humber region experiencing post-industrial decline, which features some of the highest social deprivation and youth unemployment in the country. At a regional scale the project proposes a spatial model to connect the three major economic centres of the region to form a network of productive territories, linked by mobility infrastructure. At a town scale this model can be directly applied, embracing and utilising the products of de-industrialisation such as redundant brownfield sites and infrastructure in a regionally-connected local network. This creates a platform on which different community responsive interventions can be implemented whilst proposing a new sustainable industry with an associated skills, education and research program. These design moves are proposed in the hope that addressing these issues can encourage investment in the area and bring back some prosperity to the community of the town, which will translate to the built environment in a model that can be applicable to other similar case studies.

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Jonathan Curtis (Y5) - Urban Kintsugi In recent decades, the growing uncertainty of economic conditions within Japan combined with sweeping demographic shifts has produced a rapid formation of alternative household structures and lifestyle preferences. It is argued that these factors have led to a mass rejection of the current housing provision within Japan’s residential suburbs due to it not accommodating contemporary needs. In turn, a speculative discussion can be undertaken to consider what role alternative housing models play in future residential development.

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SEASONAL LAND USE permanent pasture both forms the backbone of most livestock farming and the grounds for many outdoor pursuits

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average rainfall surplus grass growth average daylight hours average daily temperature D

Sarah Lynn Rees (Y5) - NGURRA: Country, land, place, camp, residence, home. Dwelling in remote Aboriginal Australia. Dwell (Verb) 1. Live in or at a specified place 2. Think, speak, or write at length about (noun) 3. a building or place of shelter to live in; place of residence; abode; home.

Jan Ali (Y5) - Diversification of the English landscape through the cyclical occupation of physical activity and events

This thesis explores dwelling in remote aboriginal communities and the dualities and misconceptions that arise from the clash of two opposing worlds: the western dominant and the Aboriginal. Rejecting the notion of typology and solution, the architectural manifesto within is a comment on architecture as process, industry and product.

Rural landscapes in many parts of the world no longer exist solely for agricultural production and therefore face change to accommodate various socio-economic demands. In England, agriculture currently only accounts for 7.5% of rural employment and, with cheap imports and little concern for England to be self sufficient in food production, this is a trend that is unlikely to reverse. In light of this declining agricultural industry and the associated economic and social strain, the role of the visitor within the agricultural economy is being prioritised by local government and tourist boards - the English landscape redefined from a place of monolithic agricultural production to a â&#x20AC;&#x2DC;post-productivist consumptionâ&#x20AC;&#x2122; countryside. As such, through a broader understanding of the active cyclical occupation of the English landscape, the apotheosis of which was the UK stages of the 2014 Tour de France, it is apparent that this diversification is a trend that is beginning to materialize within an extremely complex and politicised condition wherein several differing rural agendas currently converge. In addressing the diversification of rural England in this manner, the aestheticization of the landscape, set within a growing movement for conservation and reluctance to change, must be challenged in order for the growth and longevity of alternative uses of the English landscape to be successful.

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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 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 do a PhD who do not have a research masters degree will generally be required to register for an MPhil, and only then subject to a good performance, will 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 three 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 twelve months of completing nine 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 Graduate Prospectus for information about the applications process and funding opportunities: http://www.admin. cam.ac.uk/students/gradadmissions/prospec/. 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 after consulting the Graduate Prospectus.

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MASTERS DEGREES (FULL-TIME) The department offers two full time Masters degrees. The Masters in Architecture and Urban Design (MAUD) is a two-year MPhil course, including 6-9 months fieldwork placement leading to Part 2 RIBA/ARB and is described above. In addition there is the MPhil in Architecture and Urban Studies (MAUS) which is a one year research degree. Students who gain sufficiently high marks in any of these MPhil Courses may apply to proceed to study for a PhD degree. More details of these courses and the application procedures can be found on the Departmental website: http://www.arct.cam.ac.uk/researchdegrees/mastersfulltime/.

MPhil in Architecture and Urban Studies (MAUS) The MPhil in Architecture and Urban Studies is a one-year full-time programme of advanced study on contemporary architecture and the continued development of cities around the world. Students from a variety of academic backgrounds will work in an interdisciplinary environment with design practitioners, environmental specialists, architectural theorists and historians. In such an environment, students will explore a wide range of ideas, research methods and theoretical approaches in order to undertake critical and rigorous analysis of issues relating to both architecture and cities.

The course also provides an opportunity for students to expand upon their own experiences by pursuing research in their areas of interest. The course structure includes two core seminar series in the first term, which provide the fundamental skills and research methods required by students to pursue independent study. In the second term, students take specialised modules in their areas of interest. In the final term, students write a dissertation under the close supervision of a member of the faculty. The dissertation offers students an opportunity fully to explore a subject of their own choice and to produce a piece of meaningful research based on critical analysis of data collected throughout the course. For more details see Departmental website: http://www.arct.cam.ac.uk/researchdegrees/ mastersfulltime/.

MPhil in Architecture and Urban Design (MAUD) Please see â&#x20AC;&#x153;Years 4 and 5â&#x20AC;?.

The course has an emphasis on the socio-political aspects of architectural practice and cities in general. It approaches design, environmental (technical) and urban issues from a theoretical platform that allows critical enquiry. With architectural practice at its centre, the course relates closely to design work produced in the department, particularly in the Masters in Architectural and Urban Design (Part 2 RIBA/ARB) programme.

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MASTERS DEGREES (PART-TIME) MSt in Interdisciplinary Design Interdisciplinary Design for the Built Environment is a part-time postgraduate course aimed at practicing 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:

Assessment is based on four written assignments: one 5,000 word case study, two 3,000word essays, and in the second year a 15,000-word thesis. Students receive academic supervisions for their individual assignments , and are also supported by a Director of Studies throughout their course.

COLLEGE MEMBERSHIP

-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 occupants -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 for 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 design project in small interdisciplinary teams during six of the weeks. Each of the residential weeks is based around a theme. These are currently: Interdisciplinarity; The client, the user, and the design team; Sustainable construction and climate change; Personal development, teamwork, and leadership; Conservation, retrofit, and adaptation; Innovation, new technologies, and materials; and Urbanism, change, and future communities.

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

ENTRY REQUIREMENTS Applicants should have at least three years post-graduate experience of working in the built environment and 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 for the Universityâ&#x20AC;&#x2122;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/.

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MSt in Building History The 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 architectural history. The course aims:

-To provide individuals with a detailed understanding of the history and development of buildings in Britain -To train students in the recording of historic buildings -To equip students to carry out research in all aspects of the historic environment

COLLEGE MEMBERSHIP

THE COURSE

ENTRY REQUIREMENTS

The course is part-time and lasts two years. In the first year students attend three twoweek 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 six month placement with a 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.

Applicants should have at least three years post-graduate experience of working in the built environment and 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 for the Universityâ&#x20AC;&#x2122;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/.

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

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.

ASSESSMENT Candidates will be required to complete six assessed elements and achieve satisfactory attendance on at least 75% of the taught sessions. The elements are:

ELIGIBILITY

-PEDR/Log Books -Case Study -Personal Statement

The course is open to graduates who have been awarded exemption or who have passed the ARB/RIBA Part 1 and Part 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.

Successful candidates will be awarded a Postgraduate Certificate in Professional Practice in Architecture and will be granted exemption from the RIBA Part 3 Examination. On completion they may register with the ARB as qualified architects and are eligible to join the RIBA as corporate members and chartered architects.

EXAMINATION To be eligible for the examination for Part 3, candidates must have obtained ARB/RIBA Parts 1 and 2 as outlined above and have completed at least two yearsâ&#x20AC;&#x2122; practical training experience in an architectural or related practice under the direct supervision of an architect registered in the EU, twelve months of which must be undertaken in the UK under the direct supervision of a UK-registered person. A minimum of twelve months must be undertaken after completion of Part 2.

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ARCSOC COMMITTEE 2014-2015

Arcsoc is the University of Cambridgeâ&#x20AC;&#x2122;s student-run Architecture society, representing over 150 undergraduate and MPhil students. We host talks, films and life drawing classes throughout each term, whilst also striving to make the Architecture course a little easier by running Arcsoc Shop and Arcsoc Radio, nourishing students with discounted materials and free tunes. We have earned a reputation for throwing the freshest and most exciting parties in Cambridge. We go to great lengths to ensure that no two events are the same. Our annual Cabaret is widely hailed as the best night of the year. Since we are entirely student-run and funded our annual exhibition relies on the money we raise throughout the year through our events and sponsorship campaign. So weâ&#x20AC;&#x2122;d like to thank our sponsors for their kind generosity. We are always looking for venues, speakers and sponsors in both Cambridge and London. If you are interested in getting involved please do contact us at arcsoc@aha.cam.ac.uk.

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President

Alexander Baker

Vice-Presidents

Michael Gozo Caroline McArthur

Treasurer

Zoe Panayi

Exhibition

Enrico Brondelli di Brondello Kate Altmann Ann Oduwaiye Emmy Bacharach

Sponsorship

Hannah Benton Aska Welford

Publicity

Beth Fisher

Secretary

June Tong

Talks

Sam Clayton Isabel Pitt-Watson Barnes Paul Glade Rosie Nicolson

Ents

Jimmy Lei Hamzah Ahmed Joe Marchbank Kate McAleer

Shop

Charlotte Airey Abi Johnson Kiri Koumi Fruzsi Karig

Film

Oliver Baldock

Life Drawing

Silvia Cherneva

MAUD Reps

Jensen Choy James Houston Anna Rowell Beth Watson

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ACKNOWLEDGEMENTS

THANKS

Alan Baldwin Mike Driver Sue Luxon James Campbell Kate Hayward

On behalf of all the students I would like to thank the department staff for their support throughout the year. In particular to Stan, Alan and Clive who kindly give us a tremendous amount of their time every year.

Stan Finney Spencer de Grey Newton Normoyle

The work shown in here is a reflection of the talent of my fellow students, yet we couldn’t have done it without energy and commitment of our tutors who have guided us through the year.

Col Perry Wendy Pullan Ingrid Schroder Emily So Mary Ann Steane Koen Steemers

Finally, I must thank the Arcsoc committee listed on the previous page. The success of this exhibition is due to their enthusiasm and hard work. I am happy to be passing the baton on to next year’s committee and wish them the best of luck for the future. Alexander Baker Arcsoc President 2014 – 2015

Max Sternberg Minna Sunikka-Blank Clive Tubb Lucy Webb

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