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BA EXHIBITION CATALOGUE 2016
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
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Introduction Course Descriptions Studying Architecture in Cambridge Applying Year 1 Year 2 Studio 1 Studio 2 Studio 3 Year 3 Studio 1 Studio 2 Studio 3 Dissertation Titles Year 4 & 5 Post-graduate Research Degrees ARB / RIBA Part 3 About Arcsoc Acknowledgements Sponsors
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Exhibition Team Hamzah Ahmed, Julia Cabanas, Fruszi Karig, Rosie Nicholson Catalogue Oliver Baldock, Julia Cabanas, Fiona Carter, James Jackson, Darya Keivani, Kate McAleer, Rosie Nicolson, Luke Upton Printed by Printerbello, Cambridge
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Welcome to the Cambridge Department of Architecture’s Annual Exhibition, held this year in the Bargehouse on London’s South Bank. This catalogue illustrates some of the excitement, creativity, insights and hard work being undertaken in our Department by our Degree students and by the members of our MPhil in Architecture and Urban Design (MAUD, the two year MPhil/Part 2 course, which has its own catalogue). Our Department is flourishing. Most obviously, evidence of this can be found in our high ranking in a variety of league tables; in the recent survey of national institutions of higher learning by the Guardian we are the top architecture school in the top university. But to consider more nuanced qualities beneath the statistics, our strengths lie at the intersection of innovative and informed design. Our current cohorts of students are asking ever more pertinent questions in the search for how design can be most effectively bring together formal content, material innovations, social ecologies and urban context. The combination of ‘making’ with new technologies and intellectual curiosity is central to the process. In different but complementary ways, the challenges of rapid change, increased mobility, hybrid cultures and interactive globalisation have become concerns for 6
all members of the Department, in the design studios, lectures and supervisions, and for our investigations in the Department’s research wing, the Martin Centre. We continue to work as a tightknit community, placing emphasis upon cooperation and exchange as a means of generating inspired ideas and resourceful approaches. Clearly our varied staff play key roles, including the Design Fellows who represent the best of combining practice and teaching, the excellent research and educational capabilities of the University Teaching Officers, and our visiting professors – Nick Bullock, Spencer de Grey and Richard Sennett – who bring their rich and diverse areas of experience to the Department. But most of all, this catalogue and exhibition represents the talents and accomplishments of the design students. Sponsored by ArcSoc, the Cambridge student society, this wonderful event has been organised, designed, funded and constructed primarily by the Year 3 students. They are a remarkable group and it has been edifying to have them in Cambridge. On behalf of the whole Department I offer them my warmest congratulations and wish them every success in the future. Wendy Pullan Head of Department 7
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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 (Architects’ 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. After this they may choose to apply 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 the Postgraduate Certificate in Professional Practice in Architecture. The following pages give an overview of our courses as they have run in the 2015-16 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: www.arct.cam.ac.uk
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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. 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 groups called supervisions. Moreover every student at Cambridge must be a member of a college, which in turn provides a unique protective living environment and the chance to make friends with people studying other subjects. It is not possible to study another course first and then switch to architecture without starting again at the beginning. The core of the teaching is carried out in studio classes. 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. accounting 10
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 University’s undergraduate admissions website at www.cam.ac.uk/admissions/undergraduate 11
A Level Subjects: The deadline for applications to Cambridge is mid October. You will be asked to provide information on your current school grades and A Level subjects (or equivalent). We take the view that various combinations of subjects make a good Architecture student; most students take a mix of Arts and Sciences. The majority of applicants have studied Art A Level, and Maths A Level is also encouraged. Most offers of study will require A*AA grades. We regularly make offers for 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 Advance International Certificate of Education offered by the University of Cambridge Local Examinations Syndicate). You can find more information on the undergraduate study website: www.undergraduate.study.cam.ac.uk Interviews, Portfolio and Assessment Interviews are held in the first week of December and at interview you will be asked to show a portfolio of your most recent work. You don’t need to bring architectural drawings: instead interviewers want to see portfolios that demonstrate your interests, experience and ability in the visual and material arts; a sketchbook with your own hand drawings is particularly useful. Normally drawing and painting forms the basis of your portfolio, but other media such as sculpture and photography may also be included. You can bring work prepared at school for examinations, but creative work that you have done outside 12
of your courses is also welcome. Some colleges may also ask you to submit written work. Before the interview you will also have to sit a 30 minute assessment, made up of a 30 minute essay and drawing test. More information about this can be found on the Department website. We will then use all these different aspects of your application to make our final decision. Enquiries If you have any questions about applying to study Architecture at Cambridge, email: outreach@aha.cam.ac.uk or visit www.arct.cam.ac.uk/admissions. For questions about studying at Cambridge more generally, you should contact the Cambridge admissions office, or for questions about studying at a particular college, you can contact the individual admissions tutor or director of studies for Architecture, who’s details will be found on college websites. Open Days The department holds two open days a year as part of the main University open days which usually take place on the first Thursday and Friday in July. Here, you will be able to meet staff and view student work. Enquiries about the open day should be directed to outreach@aha.cam.ac.uk or through the University’s website: www.cam.ac.uk/admissions/undergraduate/events/ 13
The first year of the Architecture course provides an important introduction to the course as a whole. The year ends with examinations 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 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 submit their completed portfolios for marking. The portfolio carries 60% of the overall marks. FIELD TRIP 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 the faculty and colleges.
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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 gives a basic understanding of building materials through a series of site visits, lectures and coursework. Coursework is integrated within the studio programme. Structural design introduces students to basic structural calculations. 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. 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. 15
Tutors Julika Gittner, Mark Smith, Elizabeth Hughes, James Ross, Raphael Lee
Main Sponsor Karakusevic Carson Architects
Mackays of Cambridge Rob Watkins tree surgery A C Services (Southern) Ltd David Gray Konrad Suchodolski Martin Hunt Peter Clegg of Fielden Clegg Bradley Architects Oliver Caroe, Caroe Architects Samuel Young Amelia Bell Tua Vongsuraphichet Alison Catherine & John Burke Combicat Ltd Neil Sturrock Henry Dodd Brian Holman Debi Hedderwick Penny Parker Liz Sheerin Roxy Mashadi Andrew Grounsell Helen Diamond Cambridge Homeless Outreach programme (CHOP) Oliver Cooper Emiko Charlie Smith Cora Chalaby Sarah Coates-Holland Celia Phipps Nicola Ruth Nicholls
With thanks to: Mole Architects Lindsay Stead Travis Perkins
Special thanks to: Mattia Leone, Giulio Zuccero, Francesca Del Duca,
Critics Julika Gittner Felipe Hernรกndez Jan Kattein Rachel Marshall Ruth Nicholls Thomas Randall Page Grahame Richards Nada Tayeb Guest critics: Tom Ebdon Charles Tashima Joris Fach Stefanos Roimpas Stefan Wolf Sian Ricketts Francois Penz Ingrid Schroeder Ulrike Stevens Georgie Day Emma Woodward Luke Kon Silvia Ullmayer James Campbell Mel Dodd
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Students Kayoon Anderson / Alice Bell / Kristina Bifani / Sebastian Birch / Sorcha Burke / Alfie Caine / Gioia Casale / Michael Croghan / Katya Croydon / Emily Dan / James Delaney / Annette Desouza / James Fenna / Danielle Forster / Amy Grounsell / Leanne Hagger / Freya Hufton / Georgemma Hunt / Catriona Hyland / Varisa Kasemkomase / Fergus Laidlaw / Thomas Leung / Xida Li / Elise Limon / Olivia Lisle / Shirley Lo / Yue Pan / Jay Parekh / Tom Phillips / Shalini Reddy / Hannah Rudner / Anna Russell / Aman Sahota / Chloe Shang / Hannah Sheerin / Amy Smith / Kaye Song / Natasha Sturrock / Kieran Tam / Rashmini Uddin / Lukas Vilimas / Karen Young
Mauro Antonio Di Vito
Year One introduces the students to the tools for thinking and making architecture. We run a live build project that allows the students to conceive, design, plan and execute their first building in the first term of their studies. This year the students designed and built six structures for the allotment of the Cambridge Cyrenians, a homeless charity in Cambridge. The projects included a social space, a tool shed, a composting structure, a bothy for private meetings, a new bike stand and a marked stall. The second project of the year also has a real client so that the students can test their ideas according to a live set of parameters and experience how their research and propositions can have an impact on actual situations. This year the client for the project was Brent Council who are currently trying to define a future role for Ealing Road library as a public facility. The students were asked to explore development possibilities that retain the use of the building as a library but make this programme more viable while improving the spatial and programmatic relationship of these facilities to the high street and the wider context of Wembley. 17
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MARKET STALL
TOOL SHED
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BOTHY POD
BIKE SHED
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COMPOST BINS
SOCIAL SPACE
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19 CATRIONA HYLAND / 20 VARISA KASEMKOMASE / 21 FERGUS LAIDLAW / 22 THOMAS LEUNG / 23 XIDA LI / 24 OLIVIA LISLE
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31 HANNA RUDNER / 32 ANNA RUSSELL / 33 AMAN SAHOTA / 34 CHLOE SHANG / 35 HANNAH SHEERIN / 36 AMY SMITH
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37 KAYE SONG / 38 NATASHA STURROCK / 39 KIERAN TAM / 40 RASHMI UDDIN / 41 LUKAS VILIMAS / 42 KAREN YOUNG
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YEAR 1 NAPLES TRIP / Easter 2016 28
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The second year of the Architecture course builds on the first. The year ends with examinations 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. Set projects range in scale from mapping studies and interior interventions to a reasonable-sized building by the end of the year. The emphasis is on integrating the technical skills learnt in the first year and in the ongoing lecture courses with the studio output. Students are expected to demonstrate a greater awareness of social issues and theoretical frameworks and a 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 submit their completed portfolios for marking. Similarly the portfolio carries 60% of the overall marks. 30
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 two submitted essays, addressing topics related to the core history/theory lecture courses. These essays help prepare students for the dissertation that 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 – typically by subject lecturers – for which they are expected to produce essays and carry out basic preparation. 31
Tutors Hikaru Nissanke & Jon Lopez Students Leyla Hepsaydir Leo Sixsmith Ceri Hedderwick-Turner Francisca Hamilton Sophia Bharmal Dominic Browne Mark Gavigan Miho Sugiyama Darya Moatazed-Keivani Phoebe Walton Stephen Flynn Toby Corry Jack Shi Ali Laali Critics Diego Calderon Pete Halsall James Hills Bethan James Jasmine Low Nick Ray Geoff Shearcroft James Taylor-Foster Owen Watson 32
Traditionally, the town hall consolidated the political, administrative, municipal and social life of a community. However, the move to centralise their administration, coupled with the rise of remote and online services, has both splintered and altered their offering. This has led to a decline in the civic role of these buildings and spawned the creation of community centres embedded within residential neighbourhoods away from the high street. This may have also contributed to the latter’s decline. This year, we examined the circumstances surrounding these changes and appraised the subsequent ramifications. We speculated about the future of such halls, in addition to the changing definition and setting of civic life. The area of Peckham that we worked in grew from an outlying London village into a handsome and popular shopping street during the mid 19th century, the great age of civic construction. It’s ‘civic-ness’ has thus been traditionally associated and intertwined with its commerce, with the life of the city played out along the high street. By studying the wider and immediate context of Peckham, coupled with the history of gathering places, we sought to uncover an appropriate form, appearance and use of a civic hall for Peckham. 33
LEYLA HEPSAYDIR / Self-sustaining Dining Hall 34
LEO SIXSMITH / 35
CERI HEDDERWICK TURNER / A Platform for Peckham 36
FRANCISCA HAMILTON / Civique 37
Market hall Market hall
Exhibition hall Exhibition hall
Perspectives and plan depicting different functions of central hall Perspectives and plan depicting Plans scaledifferent 1:500 functions of central hall Plans scale 1:500
SOPHIA BHARMAL / Weaving Together Peckham 38
Theatre Theatre
Deconstructing the hierachy of the wall into a desk
Rotating part of the wall to create a corner
Moment studies 1:20 CREATION OF AN INDIVIDUAL MOMENT WHERE INTERACTION CAN OCCUR
DOMINIC BROWNE / Creation of a Moment 39
A desk on one side and a bench on the other
MARK GAVIGAN / Cultural Centre in Peckham 40
MIHO SUGIYAMA / Reflecting on Aalto 41
DARYA MOATAZED-KEIVANI / The Monumental and the Everyday 42
PHOEBE WALTON / A Town Hall for Peckham 43
STEPHEN FLYNN / Peckham Market Hall 44
Interior Courtyard Fragment Fragment Interior Courtyard Scale 1:100 Scale 1:100 Interior Courtyard Fragment Fragment Interior Courtyard Scale 1:100 Scale 1:100
TOBY CORRY / Hall Interior Courtyard Fragment Fragment Interior Courtyard Scale 1:100 Scale 1:100
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JACK SHI / A Civic Bath House for Peckham 46
ALI LAALI / The Peckham Public Hall 47
Tutors Mary Ann Steane & Ed Wilson Students Laura Bielinski Eleanor Derbyshire Kathryn Fisher Eleanor Foley Michelle Lo Miranda Lyle-Perez Andrea Pirvan Ben Price Charlotte Randall Emily Rose-Garnett Charlie Stuart Gรกbor Tajnafล i Luke Upton Nadia Lesniariak-Hamid Special thanks to: David Bass Stephan Gage Robert Mull Pippa Nissen Bobby Open Peter Ruthven Hall Simon Tucker Stephanos Roimpas Anna Cooke 48
This year, Studio 2 has explored how the city provides a framework for negotiation and exchange via two linked projects in Peckham, South London Our first project for a hostel and community space explored the conjunction of public and private spaces within a typical streetscape. Our interests have included how spaces for dwelling and public interaction can take place side by side within a small scale urban setting, how the city can be shaped to support neighbourly exchange and how thresholds between everday activities can be negotiated and choreographed. Our second project is for a new community theatre in Peckham Rye. Individual theatre companies, chosen by each student, are housed in new structures that are located on one of six sites across Peckham. As a unit, we have sought to investigate the potential for public space to be created within a complex urban framework, and how a new public building might be made that is relevant to an existing community in the process of rapid change. We started the year with a group analysis of the social, spatial and material background for the proposals and have continued with investigation into different forms of theatre and their relevance to contemporary performance. Each of the projects responds in a different way to this challenge and some very different models of public and performance space are presented. 49
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ANDREEA PIRVAN / Boxed Heart 50
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BEN PRICE / Backstreet Theatre 51
CHARLIE STUART / Machine in the Garden: Theatre and Nature Entwined 52
CHARLOTTE RANDALL / Cave 53
ELEANOR DERBYSHIRE / Finding Peckham Underground 54
EMILY-ROSE GARNETT / Performing the Railway 55
GÁBOR TAJNAFŐI / Vertical Line Theatre Garden 56
West Elevation
Glowing facade
Spacial arrangement
Bar underneath seating
Precedent study ‘Theatre on the Fly’ by Assemble 1:50 model
KATHRYN FISHER / Theatre Between the Lines 57
View from performance area
LAURA BIELINSKI / Copeland Spotlight 58
LUKE UPTON / Theatre in the Courtyard 59
MICHELLE LO / A Theatre for the Street 60
MIRANDA LYLE PÉREZ / Drama(tic) Road 61
NADIA LESNIAREK-HAMID / A Promenade Theatre 62
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Tutors Doug Hodgson & Colette Sheddick Students Ife Adepegba Adekunle Awodele Tom Bacon Oli Brenner Melvin Fung James Jackson Inji Kang Nicole Ng Tom Nuttall Luke Pajovic Abigail Popple Amelia Stevens Emily Wickham Visiting Critics Liam Ashmore James Campbell Peter Carl Dean Hawkes Carlos Sanchez Andrew Skulina Mary Ann Steane Max Sternberg David Storring Anna Cooke 64
‘Of course, the quality of things presupposes measurement. Yet how one can measure buildings, if an amphitheatre can become a city, and a theater a house? - Aldo Rossi Studio 3 has worked with sites in and around Rye Lane, Peckham, drawing the existing and imagined conditions from small to large scale. Studies were made of the Villa Lante and its hydraulic landscape set in the Roman Campagna, making comparisons to the Victorian reservoirs at Nunhead and Honour Oak and the topography of the wider landscape of Peckham from the Rye down to the Peckham High Street. The Studio’s programme for the year started with the preparation of detailed survey drawings of an existing wall and it’s ground. These were used as sites for a fountain – reservoir, conduit, basin – and casino building set within the existing landscape of Rye Lane and its environs. The building programme for the year was for the design of an office building in Peckham. Precedent studies and briefing documents were produced to research and make playful polemics regarding the siting and programming of a contemporary work space. Proposals were invented, imagined, discarded, remade and played out through sketches, models, orthographic drawings, and texts. 65
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IFE ADEPEGBA / The Sunken Garden 66
ADEKUNLE AWODELE / Confinement for the Greater Good 67
TOM BACON / Hundreds of Ripples, But No Waves 68
OLI BRENNER / Together Alone, Together Apart 69
MELVIN FUNG / The Association of Encounters and Gatherings 70
JAMES JACKSON / Deviating from the Grid 71
V E RT I C A L
O F F I C E
H O R I Z O N TA L
INJI KANG / Peckham Office Vill 72
O F F I C E
NICOLE NG / Palazzo delle Poste, Peckham 73
TOM NUTTALL / 0800 GLAM 74
LUKA PAJOVIC 75
Public
Semi-public Tertiary distinctions Private
Spaces for walking Spaces for Walking, Places for Staying ‘Yet designing public space in addition to an office building can only be successful if the environment between public and private is subtle, yet clear. The built environment can act as a physical aid to public space, without instructing it.’
Places for staying
‘There are two basic types of public space: spaces for walking, and places for staying. Walking is a type of transportation; a way to get around. But it also provides an informal and uncomplicated possibility for being present in the public environment. Foot traffic will flow naturally down this central axis, opening up different pockets of public space as ‘places for staying’’.
ABIGAIL POPPLE / Spaces for Walking, Spaces for Staying 76
AMELIA STEVENS / Fortification 77
EMILY WICKHAM / Landscaping Peckham 78
YEAR 2 PORTO TRIP / Michaelmas 2015 79
The third year of the Architecture course is the culmination of the course. The year ends with examinations 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. 80
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. 81
Tutors Nikolai Delvendahl & Eric Martin with Adam Peavoy Students Julia Cabanas Alex Clarke Emma Carter Dominic Edwards Phillip Heckmann-Umhau Henry Jiao Jimmy Lei Joseph Marchbank Rosie Nicolson Hafizah Nor Benedetta Pacella Francisco Shankland Jennifer Sutherland Visiting Critics Sri Sudhakar (LB Tower Hamlets Place Shaping Team) Spencer de Grey Jo McCafferty David Byrne Alex Giarlis David Howarth Martha Carini Michael Oxley Katie Metcalf Di Haigh 82
Anna Cooke
This year the Studio continued to explore the renewal of London’s East End, focusing the research on a semi-derelict site adjacent to Regents Canal. A former industrial waterway, the Canal is a stretch of historic infrastructure that connects the Thames in the east at Limehouse basin to central London. The study area concentrated on a site known as the Gas Works and The Oval, where the most distinctive features are two decommissioned Victorian gas holder structures that tower above the neighbouring buildings, and that have become reference points for the area. The students worked with Tower Hamlets’ Place Shaping Team and other experts to generate a mixed-use development based on three main urban components: housing, community infrastructure and work space. A series of research and urban design exercises were carried out in small groups during the first term, culminating in a phased masterplan and leading to individual proposals developed in the subsequent terms. The 13 resulting projects offer an abundant mix of uses and inventive briefs in response to the three main themes, creating a plausible new neighborhood in place of what is now a void in the urban fabric. 83
JULIA CABANAS / Event Space at the Old Brewery 84
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ALEX CLARKE / Grid of Inhabitation 86
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EMMA CARTER / Museum of London’s Industrial History 88
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DOMINIC EDWARDS / Bethnal Green Idea Store 90
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PHILIPP HECKMANN-UMHAU / District Eating Facility 92
DISTRICT
EATING
The Oval, Bethnal Green
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HENRY JIAO / TH Cinedrome 94
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JIMMY LEI / Gas Park Gym 96
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JOSEPH MARCHBANK / Bethnal Green Sorting Office 98
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ROSIE NICOLSON / Annexed Housing for the Gasworks Housing Trust 100
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HAFIZAH NOR / Homes Over the Baths
TRANSVERSE SECTION HOMES OVER THE BATHS 1:200
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View from Emma Street
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BENEDETTA PACELLA / Rethinking Urban Architecture 104
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Plan First Floor Scale
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FRANCISCO SHANKLAND / From Sylhet to Tower Hamlets: Courtyard Housing in East London 106
Section through Stepped
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JENNIFER SUTHERLAND / (Tower Hamlets) District Heating Facility 108
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Tutors Karin Templin & Peter Karl Becher Students Hamzah Ahmed Paul Christian Rachel Earnshaw Paul Glade Tom Lowe Rory Luscombe Kate McAleer Marwa Shykhon Henry Robinson Visiting Critics Artur Carulla Alfredo Caraballo Bruno Marcelino Ros Diamond Theo Bowering Nicholas Choy David Grandorge Iain Tuckett Benjamin Marks Russell Gray John Paul Maytum Roger Zogolovitch Patrick Lynch Simon Henley Spencer de Grey Hans van der Heijden 110
Young professionals are finding it harder and harder to afford appropriate accommodation within London with a large majority renting or sharing a room within an overcrowded house-share. What alternatives can be created for those just starting out in the city? What does urban living mean for a young professional? Meanwhile, pensioners residing in family-sized accommodation long after their children have left home have created an endemic of half-occupied houses. With the end of ‘cradle to grave’ council housing policies as well as pressures within the private market, pensioners need to be relocated into smaller units in order to free up larger units for families. What type of environment can be offered to pensioners leaving their larger dwellings? Could housing the two seemingly disparate groups of first and last timers together help to address the crisis whilst creating social and employment opportunities for the residents? Could a new residential typology serve as a model for urban development and help ease the pressures of the current housing crisis? What kind of community could be created by housing old and young together? What other uses can be introduced to create opportunity and cohesion within the development and greater community? 111
HAMZAH AHMED / Shades of Southwark 112
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RACHEL EARNSHAW / Courtyard Housing 114
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PAUL GLADE / Home or Somewhere Else 116
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TOM LOWE / Common Curtains 118
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RORY LUSCOMBE / Bermondsey Rise 120
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KATE McALEER / Bermondsey Viaduct Housing Cooperative 122
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MARWA SHYKHON / Communal Living: Streets and Courtyards 124
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HENRY ROBINSON / The Tower and the Mansion Block 126
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Tutors Peter Fisher & Mike Tuck Students Charlotte Airey Oliver Baldock Isabel Barnes Joe Bradley Charlotte Burrows Fiona Carter Silvia Cherneva Fruzsi Karig Audrey Lejeune Sophie Mcllwaine Chloë Tayali David Turner Visiting Critics Simon Erridge Dan Kew Kate Coghlan James Nelmes Sophie Roycroft Ben Lovedale Elliott Scully Ingrid Schröder Spencer de Grey Anthony Engi Meacock Mary Ann Steane Percy Weston Special Thanks To FSE foundry & Bulmer Brick and Tile Company 128
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 main project for the year adapted a real-life brief in Dartford in Kent for the relocation of its’ town hall and civic centre into the core of the town. It is a town suffering many of the problems so familiar to numerous British town centres, with a declining high street (due to the nearby Bluewater shopping centre), a reducing population and a sense of political disenfranchisement. Students were asked to explore the symbiotic relationship between the commercial and the civic through the co-location of a town hall and a new market hall. This raised questions about how a new building can bring a sense of place and identity to the commercial and civic life of Dartford that serves the whole community - both the existing and the newer populations. 129
CHARLOTTE AIREY / Dartford Market House 130
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OLIVER BALDOCK / Bread & Circuses 132
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ISABEL BARNES / Powerhouse 134
Route to Youth Centre from Bus Stop
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CHARLOTTE BURROWS / Dartford Under One Roof 138
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FIONA CARTER / A House for Dartford 140
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SILVIA CHERNEVA / The Iconic Context: a Pretentious Town Hall 142
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FRUZSINA KARIG / A Town Hall for Changes 144
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AUDREY LEJEUNE / The People’s Town Hall 146
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SOPHIE McLLWAINE / Dartford’s Gathering Place 148
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CHLOË TAYALI / A New Town Hall: Dartford Community Centre 150
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DAVID TURNER / Political Space and its Expression: A new civic identity for Dartford 152
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Hamzah Ahmed
Space Beyond Words: La Tourette and l’espace indicible
Charlotte Airey
Designing for Science: User adaptation in the Cavendish II Laboratory Reconstructing Aleppo? Future strategies seen through past precedents Regeneration in Newham - Is it a solution to London’s Housing Crisis? Moses vs. Herc: Breaking The Bronx
Oliver Baldock Isabel Pitt-Watson Barnes Joseph Bradley Charlotte Burrows
Are Curtains Architecture?
Julia Cabanas
Hollywood is a Verb: Ed Ruscha Does Los Angeles
Emma Carter
Charles Robert Cockerell’s Contributions to Architecture: A case study of The Oxford University Galleries and Taylorian Institute
Fiona Carter Silvia Cherneva Alex Clarke Paul Cristian Rachel Earnshaw Dominic Edwards Paul Glade Phillipp Heckmann-Umhau Henry Jiao
Was the 2015 Gorkha Earthquake a ‘Near Miss’? The Bathhouse as a Place and a City: A study of the significance of Bathhouses throughout history and their relevance to the present Building Big on London Borough Boundaries Virtual Reality as Space Generator The Conservation of Heritage Monuments in Java, Indonesia: current issues and suggested solutions Ha-Ha! The Artless Art of Eighteenth-Century Panoptics Civilised Facades: the theatricality of urban life in Georgian Baths Stadtbildung-Bildungsstadt: The Transformation of Munich under Ludwig 1 of Bavaria The House That Cinema Built
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Fruzsi Karig Jimmy Lei Audrey Lejeune Tom Lowe Rory Luscombe Joseph Marchbank Kate McAleer Sophie Mcllwaine Rosie Nicolson Hafizah Nor Benedetta Pacella Henry Robinson Francisco Shankland Marwa Shykhon Jen Sutherland David Turner Chloë Tayali
The Capabilities of Music Festival Space to Disrupt Existing Social Orders Voluntary Poverty: Tadao Ando’s Fight against Mental Poverty Architecture of the Everyday Environment: The Case of Amélie SUBTLE SCRIPTING: Demonstrating through examples that computer programming can be useful to the architects of everyday buildings Regeneration in the Birmingham Jewellery Quarter The Cultural Falsework of King’s Cross “Life; London; this moment in June”: 1920s London as a tool for social critique in Virginia Woolf’s Mrs Dalloway The Inspiration behind the Dome of St Paul’s Cathedral Roots and Refuge: Hair salons on the Walworth Road Venice of the East: Could We Save the Dying Culture of Brunei’s Kampong Ayer? Continuity and Modernity in the Fascist City: the bonifica of Naples under the fascist regime Informal Urbanism in Belgrade: A Viable Alternative to Formal Urbanism? Change and Development in Anita Garibaldi: A study of the history and potential future of housing policy in Brazil. The Azhar Park as a Catalyst for Urban Redevelopment Unity in diversity: The case for engaging religion in building earthquake resilience on Java Substance Over Style: Architecture as a way of life. Reframing the legacy of Louis I. Kahn Housing in Denmark since 1900 and the Concept of Hyggelig
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YEAR 3 MILAN, COMO & BELGIUM TRIPS / Michaelmas 2015 156
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The department’s Masters in Architecture and Urban Design fulfills the criteria for both an MPhil degree and exemption from Part 2 ARB/RIBA. It is thus equivalent to MArch and Diploma courses in other schools of Architecture and the same funding rules apply. The course is unique, however, in offering students the opportunity to develop an individual course of study supported by academic collaboration, regular studio supervision and a carefully coordinated set of academic and design outputs. Students are expected to develop radical design proposals that are rigorously engaged with current academic discourse in an individual area of focus. This is a combined post-graduate research degree (MPhil) and RIBA Part 2 programme that brings together design, rigorous research methodology, and fieldwork. Each student develops an individual thesis direction closely guided through design and seminar teaching. Our focus throughout is the development of a strong thesis argument supported by excellent research and provocative design responses. We work together intensively to help each student define a precise direction for their work, a suitable research methodology, and to assemble a core group of interdisciplinary academic collaborators from across the university. The course is a unique vehicle for interdisciplinary practice that fully exploits the expertise available in the University at large and addresses its relevance to design practice. We encourage collaborative learning through frequent presentation and discussion within the group at every stage of the degree as a means of refining our design, and research methods.
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Work in studio is supported by the other MPhil seminar courses that explore the cultural and technical background to students’ design proposals and introduce the cohort to a range of research techniques. Over the course of two years students produce three pieces of written work: a study of the cultural context of their project, a pre-thesis outlining the scope, methodology and direction of the project, and a final design thesis. Each student is also expected to prepare a formal seminar presentation, conduct a rigorous technical analysis, and to develop a detailed implementation plan for their work that engages directly with the factors and players affecting their design. Each submission or presentation is heavily supported by drawn analysis and visual documentation as we consider the representation of projects through each research output to be an essential and well-considered part of each student’s design research methodology. The final project is represented through a full RIBA/ARB part II portfolio and written Masters thesis. The Masters in Architecture and Urban Design (MAUD) differs from other MArch courses in the UK in that students graduate with an MPhil (a recognised research degree allowing direct progression to a PhD for those with a high enough grade) and Part II RIBA. FIELDWORK After two terms in residence students spend 6 months conducting fieldwork. In most cases this involves paid work in a relevant NGO, research institution or practice, while others attain funding for site research or topic specific internships. This period enables each student to develop the research background to the written thesis, and gather critical data to support their design work. While the purpose of this period is to ground the design and the research in ‘real world’ issues, we strongly encourage carefully constructed abstract thinking. The purpose of this ‘on-site’ study, is to focus each piece of work and prompt each student to engage in a wider discourse with academics, politicians, developers, and designers. Students then return to Cambridge for six months to complete their written work and design project. ENTRY REQUIREMENTS Entry requirements are considered on an individual basis. Applicants are expected to have a first-class or high 2.1 honours degree. Admission is not automatic from the Undergraduate course.
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An Alternative Cultural Landscape | CLARA DIP WAN CHEUNG Investigating questions related to public space and cultural expression in Hong Kong, this project points to the opportunities opened up by conceiving the public realm as a cultural landscape, where architecture can be a re-appropriated vehicle for establishing collective respect, creating cultural advocacy and celebrating the sense of ownership in this city.
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What Would A Non-Sexist Home Be Like? | MARTHA CLAUDIA CARINI The project is a manifestation against the blurring boundaries between public and private, production and reproduction. Given that there is an emergence of new forms of labour, particularly in the creative sector such as tech companies, work is no longer necessarily organized around the traditional 9 to 5 working day, but rather often overspills into the individual’s private life, thus creating a detachment between production and reproduction. This social organisation of life and work is particularly limiting and discriminating to women, who often fear that the development of a family will lower their possibilities within their career. However, this is not simply a woman’s problem, but rather one of the family and of society as a whole, as reproduction and domestic labour is economically and socially necessary to society, women and their families.
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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 they 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. 162
ENTRY REQUIREMENTS Entry requirements are considered on an individual basis. Applicants are generally expected to have a first-class or high 2.1 honours 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: 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. 163
The department offers three full time Masters degrees. The Masters in Architecture and Urban Design (MAUD), as previously described, is a two-year MPhil course, including 6-9 months fieldwork placement leading to Part II RIBA/ARB. 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. 164
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. 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 to fully 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 the departmental website: www.arct.cam.ac.uk/researchdegrees/ mastersfulltime/. MPhil in Architecture and Urban Design As described previously (see pages 154 - 157) 165
Interdisciplinary Design for the Built Environment is a part-time postgraduate course aimed at practising designers with at least three years work experience. It is open to architects, engineers, and all those involved in the commissioning, design, construction and management of projects in the built environment. It is offered jointly by the Departments of Architecture and Engineering. The course aims: • To equip professionals for strategic decision making, inventive problem solving and team leadership • To develop skills in effective collaboration and communication, particularly between clients, consultants, contractors, specialists and users of buildings • 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, sustainability and urbanisation The course is part-time and lasts two years. During that time, students spend seven separate residential weeks studying in Cambridge at 3-4 month intervals. Each of these residential weeks comprises an intensive programme of formal lectures from leading practitioners and university academics, workshops and seminars, and a studio design project undertaken in small interdisciplinary teams. Each of the residential weeks 166
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 Smart cities and urban communities. Assessment is based on four written assignments: one 5,000 word case study, two 3,000-word essays, and in the second year a 15,000-word thesis. Students receive academic supervisions for their individual assignments , and are also supported by a Director of Studies (DoS) throughout their course. COLLEGE MEMBERSHIP 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 University’s requirements. Details of the course fees, dates and the application procedure can be found on the website: www.idbe.arct.cam.ac.uk.
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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 Historic England (formerly part of 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 analysis and recording of historic buildings • To equip students to carry out research in all aspects of the historic environment THE COURSE The course is part-time and lasts two years. In the first year students attend three two-week residential courses, consisting of lectures, visits, workshops and seminars. These are examined in a further residential week in the summer. Courses are delivered by leading experts in each field from within and outside the university. Students are required to record
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and analyse a historic structure and write a research proposal. The second year is spent on a six-month placement with a heritage organisation (it is up to the student to find the placement) and the completion of a dissertation on an approved topic of research. COLLEGE MEMBERSHIP Students on the course become members of Wolfson College, which was established specifically for graduate and mature students. ENTRY REQUIREMENTS Applicants should generally have an upper second class honours degree or better, although alternative experience or qualifications may be taken into account. Overseas students must demonstrate a good command of the English language and meet the requirements of the University’s Board of Graduate Studies in this respect. Details of the course fees, dates and the application procedure can be found on the website: www.ice.cam.ac.uk/ mst-buildinghistory 169
An intensive course of three taught sessions (2 days in September, 3 days in March/April and 3 days in July) is delivered through a mix of lectures, seminars, debates and workshops. Students are grouped into study groups to meet and work on set problems and are also assigned a Professional Studies Advisor. The course is validated and prescribed as an ARB/RIBA Part 3 qualification. ELIGIBILITY The course is open to graduates who have been awarded exemption or who have passed the ARB/RIBA Part 1 and 2 examinations, and who have completed the mandatory periods of practical experience. Candidates can register for the course in their second year of practical training experience providing they will complete the required period before the examination. EXAMINATION To be eligible for the examination for Part 3, candidates must have obtained ARB/RIBA Parts 1 and 2 as outlined above and have completed at least two years’ practical training experience in an architectural or related practice under the direct supervision of an architect registered in the EU, and 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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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: • PEDR/Log Books • Case Study • Personal Statement 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. 171
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TALKS
AN ARCHITECTURAL PEREGRINATION
ALEX SCOTT-WHITBY
5:45 THURSDAY
26 NOVEMBER
DEPARTMENT OF ARCHITECTURE
LR1 WINE + CHEESE
After studying fine art followed by architecture at Newcastle University, Alex took the opportunity to work outside architecture and joined the advertising agency AMV.BBDO where he worked as part of the team responsible for award winning campaigns for Guinness, BT, The Samaritans and Gallo Family Vineyards. This experience was followed by work for Squint/Opera and Ramboll where he was responsible for the firms creative output for the London Festival of Architecture 2008. After working for Benson + Forsyth and Graeme Massie Architects, Alex returned to architectural education to study at London Metropolitan University in “The Free Unit” under Professor Robert Mull and Peter Carl. Alex has been a guest editor of The London Architecture Diary, and was a member of the editorial advisory board for the successful re-launch of the RIBA Journal. He is currently taking part in filming a documentary about The City of London and it’s forgotten spaces. He founded ScottWhitbyStudio in 2014 following 3 years as founder/director of StudioAR. ScottWhitbyStudio is a dynamic international architecture and creative consultancy with studios in London, Moscow, and the Dubai. The studio started its creative practice in the church tower of St Mary Woolnoth, in the City of London and is now based in the heart of Soho, London. The studio works within and outside the boundaries of a traditional architectural practice; working on projects that have a city wide effect to ones that are designed for a single person to write at. Current projects range from a palace in Saudi Arabia for an international art collector and businessman, to the design of a home for a homeless community in North London. These sit alongside exhibition designs for the Royal Academy of Arts, to large scale residential and public realm projects in the UK and abroad. Alex has lectured and critiqued at a number of architectural schools including the Architectural Association, The Bartlett, Cardiff University, London Metropolitan University, and internationally at ETH Zurich, and IUAV in Venice. He is currently senior tutor and admissions tutor at The University of East London.
Arcsoc is the University of Cambridge’s student run architecture society, representing over 150 undergraduate and MPhil students. We host talks, films and life drawing classes throughout each term while also trying 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, going 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, our annual exhibition relies on the money we raise throughout the year from events and sponsorship. So we’d like to thank our sponsors for ther kind generosity. We are always looking for venues, speakers and sponsors both in London and in Cambridge. If you are interested in getting involved, please do contact us at arcsoc@aha.ac.uk. 173
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On behalf of the students I would like to thank the department for their support throughout the year. In particular our thanks go to James Campbell, Arcsoc’s Senior Treasurer, Stan Finney and the IT Team, Alan Baldwin and the custodians, and Clive Tubb in the workshop for continuing to give such a large amount of their time and energy to help us. The work on show here is a reflection of the talent and enormous efforts of my fellow students, but thanks must also go to our tutors for their guidance. Their advice has been invaluable in producing and refining the final outcomes of our projects which you see here. Finally, a huge thank you to the Arcsoc committee for all they have done this year. The exhibition would not be possible without them, and the scale and variety within this year’s show is testament to their hard work. I wish next year’s committee all the best for the future. Kate McAleer Arcsoc President 2015-2016
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Arcsoc would like to thank our kind sponsors for enabling us to produce our 2016 exhibition
Allies and Morrison
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