Bartlett Book 2015 by The Bartlett School of Architecture UCL

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We are grateful to our generous supporters and partners: Summer Show Main Title Supporter 2015 Foster + Partners Supporters of the Summer Show Laing O’Rourke Rogers Stirk Harbour + Partners Wilkinson Eyre Prizes Allford Hall Monaghan Morris Make Architects Max Fordham Next Limit Technologies Rogers Stirk Harbour + Partners

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Bartlett School of Architecture Publications Read online at issuu.com/bartlettarchucl Buy in print at bit.ly/Bbooks

The Bartlett School of Architecture 2015

Bartlett Design Research Folios A new publication series dedicated to design research produced by Bartlett School of Architecture staff. The series is a free online resource showcasing original and experimental works by established and early career design researchers in the school. Each folio focuses on a single project, offering an in-depth visual and textual description of its research questions, methods and outcomes. The result is an illuminating series that highlights the creative role of design practice in architectural research. Online at bartlettdesignresearchfolios.com

PhD Research Projects The catalogue from the annual conference and exhibition showcasing doctoral research at The Bartlett School of Architecture, published in early Spring each year. Each edition features a selection of presentations from students who are starting, developing or concluding their research. The 2015 publication includes contributions from MPhil and PhD students at the Royal College of Music, as part of an ongoing interdisciplinary collaboration. Online at issuu.com/bartlettarchucl

B-Pro MArch AD / MArch UD Released each September, these publications present a comprehensive review of the work produced by students on the B-Pro MArch Architectural Design and MArch Urban Design programmes. Projects showcased range from advanced research in robotics and Artificial Intelligence to experimental bio-digital technologies. Buy in print at bit.ly/Bbooks

LOBBY A vibrant new publication produced by Bartlett School of Architecture students, LOBBY aims to open dialogue and stimulate debate. Each themed issue includes contributions from members of the architectural community beyond The Bartlett alongside and in response to work generated inside the school. LOBBY #2, â&#x20AC;&#x2DC;Clairvoyanceâ&#x20AC;&#x2122;, features Adrian Forty, Sam Jacob, Daniel Libeskind and Francine Houben. Buy in print at bit.ly/Bbooks Online at bartlettlobby.com

Image: BSc and MArch Architecture studios ÂŠTim Crocker

Contents 20 Introduction Frédéric Migayrou, Bob Sheil 22 Prizes 2014 – 15 24 175 Anniversary 26 AAE 2016 BSc Architecture (ARB/RIBA Part 2) BSc Architectural & Interdisciplinary Studies 30 40 50 60 70 80 90 100 110 120 130 140 150

Year 1 / Longing and Belonging: The First Year in Architecture Nat Chard, Frosso Pimenides UG0 / Urban Rituals Murray Fraser, Justin C. K. Lau, Sara Shafiei UG1 / Living Patterns: Housing Sabine Storp, Patrick Weber UG2 / SimbioCity Damjan Iliev, Julian Krueger UG3 / 1:1 Jan Kattein, Julia King UG4 / Monumetric Ana Monrabal-Cook, Luke Pearson UG5 / Speculative Landscapes Julia Backhaus, Pedro Font-Alba, Martin Tang UG6 / Hong Kong Reconsidered Christine Hawley, Paolo Zaide UG7 / Neighbourhoods of Infinity: Pre- and Post-Quake San Francisco Pascal Bronner, Thomas Hillier UG8 / Shifting Scales Rhys Cannon, Colin Herperger UG9 / Skilled Contrivance in the Age of Technological Abundance Jessica In, Chee-Kit Lai UG10 / The Nature of Digital Structure Guan Lee, Peter Webb BSc Architectural & Interdisciplinary Studies Elizabeth Dow, Lucy Leonard, Barbara Penner

MArch Architecture (ARB/RIBA Part 2) 162 172 182 192 202 212 222 232 242 252 262 272 282 292 294

Unit 10 / Redefining Utopia Bernd Felsinger, CJ Lim Unit 11 / Home Ground Laura Allen, Kyle Buchanan, Mark Smout Unit 12 / Occupying the City of London Matthew Butcher, Elizabeth Dow, Jonathan Hill Unit 15 / Operations of the Formless Aleksandrina Rizova, Stefan Rutzinger, Kristina Schinegger Unit 16 / Bridges Johan Berglund, Josep Miàs, Dean Pike Unit 17 / Devo Max Yeoryia Manolopoulou, Níall McLaughlin, Michiko Sumi Unit 18 / Materialising the Incomplete Nannette Jackowski, Ricardo de Ostos Unit 19 / Becoming-Ever-Different Mollie Claypool, Manuel Jimenez Garcia Unit 20 / Incredible India Richard Beckett, Marjan Colletti, Marcos Cruz Unit 21 / Ambiguous Territories Abigail Ashton, Andrew Porter Unit 22 / Empowering the Legacy of Generation Z Izaskun Chinchilla Moreno, Carlos Jiménez Cenamor Unit 23 / Nocturnal Science Colin Herperger, Emmanuel Vercruysse Unit 24 / Forty Second Island Penelope Haralambidou, Simon Kennedy, Michael Tite MArch Design Realisation Dirk Krolikowski, James O’Leary MArch Year 5 Thesis Edward Denison, Mark Smout, Robin Wilson, Oliver Wilton

302 304 306 308 318 322 323 324 325 326 327 328

B-Pro: MArch Architectural Design Alisa Andrasek B-Pro: MArch Urban Design Adrian Lahoud MA Architectural History Peg Rawes MPhil/PhD Architectural Design Jonathan Hill MPhil/PhD Architectural History & Theory Barbara Penner Pg Dip in Professional Practice & Management in Architecture (ARB/RIBA Part 3) Susan Ware New Programmes Bartlett Short Courses Open Crits Bartlett Lectures Sir Banister Fletcher Visiting Professorship Bartlett Staff

Introduction

The Bartlett School of Architecture 2015

First and foremost, sincere congratulations to all our graduating students whose inspiring work underpins everything this School is about. As a prolific bunch, only a fraction of their work can be represented in the show and catalogue, and although chock-a-block with ideas and ‘stuff’ (as Sir Peter Cook would say) there are many more wonderful gems hidden away in portfolios that only a privileged few such as family, close friends and prospective employers get to see. The show is a tribute to the students’ talent, effort, ambition and enthusiasm, and we wish to express our profound thanks for the huge effort and final push it takes to put this on. We launched last year’s Bartlett Book with the words ‘change is in the air, and The Bartlett School of Architecture is on the move’. Well, it has indeed proved to be quite a year of transformation. Over the Summer of 2015, we moved into two warehouses on Hampstead Road, less than 10 minutes’ walk from our home of the last 40 years on Gordon Street and our more recent annex on Capper Street, known as The Royal Ear Hospital. As we’ve watched 22 Gordon Street transform from a tired old soul into a raw skeletal frame, we can’t quite believe that we are already at the halfway point before metamorphosis into a bigger and better place is complete. Meanwhile, our temporary home has been profoundly transformative in its own right, and in many more ways than the accommodation schedule planned. Its robust, fluid, and spacious environment more than makes up for its shortcomings as a thermal or acoustic insulator. It’s allowed us to host the International Lecture Series in-house, and launch a new lunchtime lecture series on Mondays, Situating Architecture. It has provided students with more social spaces than ever before; it has given us open plan studios mixed between undergraduate and postgraduate; and it has generated the ideal environment for B-made (The Bartlett Manufacturing and Design Exchange) to run our state-of-the-art facilities in 3D printing, robotics, digital and analogue fabrication, and more.

Introduction

Professor Frédéric Migayrou Chair, Bartlett Professor of Architecture Professor Bob Sheil Director of The Bartlett School of Architecture 21

The Bartlett School of Architecture 2015

In short, 132 and 140 Hampstead Road have provided The Bartlett School of Architecture with long overdue breathing space, and the effect has been immensely positive and critically timed. Our thanks to all those who have facilitated these projects, from the Dean, Professor Alan Penn, and colleagues in the Faculty Office, to School of Architecture staff who took on significant additional workload to ensure these transitions went smoothly. Change is deeply energising and a vital commodity. So has any of this made a difference to the work? In February we ran two days of Open Crits, where students who volunteered to present their work were addressed by a panel of external critics with no prior knowledge of their projects. As one of our guests Paul Finch later wrote in the Architects’ Journal, the experience was ‘stimulating, both in terms of the range of subjects addressed and the spirited way in which the students made their presentations’. We are immensely grateful to all our critics this year, for the generous sharing of their time and expertise. Among the diversity of subjects students have explored and defined this year, a noticeable number address complex social issues, including community spaces for teenage mothers, urban challenges through mass unemployment, housing, mining, and retirement; and in addition complex fabric and production issues such as waste, energy, disaster management, heritage, climate change and gwlobal politics. How these projects are developed and performed – in a manner that is persuasive, plausible, and provocative – is the mysterious cocktail for which we have no definitive recipe. Each year a new batch is cooked up and we see how it compares to the last. Finally, we wish to pay tribute to Professor Ranulph Glanville (1946-2014) who passed away last year. An online obituary by his close friend and colleague Professor Stephen Gage eloquently captures the spirit of an extraordinary and inspiring figure who is sadly missed.

Prizes 2014 â&#x20AC;&#x201C;15

Bartlett School of Architecture Medal For students averaging 80% or higher in professional programmes BSc Architecture Thomas Cubitt, UG1 Douglas Miller, UG7

The Bartlett School of Architecture 2015

MArch Architecture Marcin Chmura, Unit 10 Alexander Cotterill, Unit 12 Gary Edwards, Unit 23 Benjamin Ferns, Unit 12 Harry Grocott, Unit 11 Jamie Lilley, Unit 21 Sirisan Nivatvongs, Unit 22 Ashwin Patel, Unit 10 Charlotte Reynolds, Unit 21 Marcus Stockton, Unit 11 Greg Storrar, Unit 23 Tomas Tvarijonas, Unit 19 Andrew Walker, Unit 14 BSc Architecture Year 1 Grocersâ&#x20AC;&#x2122; Company Golden Jubilee Scholarship Samuel Grice Building Design Prize, sponsored by Make Ella Caldicott Drawing Design Prize, sponsored by Make Rory Noble-Turner Model Design Prize, sponsored by Make Jaejun Kim Herbert Batsford Prize James Hepper 22

Next Limit Prize for Digital Visualisation Rosie Murphy Ryan Walsh

MArch Architecture Year 4

BSc Architecture Year 2

History and Theory Prize Matthew Turner, Unit 12

Narinder Sagoo Drawing Prize Isaac Simpson, UG9 Victor Kite Prize for Design Technology, sponsored by AHMM Charles Redman, UG3 BSc Architecture Year 3 Distinguished Work in History and Theory Naomi De Barr, UG1 Environmental Design Prize Elin Soderberg, UG4 Fitzroy Robinson Drawing Prize Niki-Marie Jansson, UG7 Making Buildings Prize Patrick Dobson-Perez, UG8 iGuzzini Light First Prize Egmontas Geras, UG4 Professional Studies Prize Niki-Marie Jansson, UG7

AHMM Design Realisation Prize Fergus Knox, Unit 11

Kohn Pedersen Fox Associates Bursary Luke Scott, Unit 12 Rogers Stirk Harbour + Partners Bursary Antony Lees, Unit 17 MArch Architecture Year 5 Ambrose Poynter Prize Alexander Cotterill, Unit 12 Fitzroy Robinson Drawing Prize Andrew Walker, Unit 14 Max Fordham Environmental Design Prize Gary Edwards, Unit 23 Sir Andrew Taylor Prize Harry Grocott, Unit 11 Sir Banister Fletcher Medal Benjamin Ferns, Unit 12

BSc Architectural & Interdisciplinary Studies

Postgraduate Diploma in Professional Practice & Management in Architecture (ARB/RIBA Part 3)

Distinguished Work in History and Theory Caitlin Abbott

Ross Jamieson Memorial Prize Melanie McDaid Shane Parker

Prizes 2014 –15

2014 RIBA Medals Silver President’s Medal for Best Design Project at Part 2 Nick Elias, MArch Architecture Unit 10 Commendation: Silver Medal Louis Sullivan, MArch Architecture Unit 12 The Bartlett School of Architecture 2015

Commendation: Bronze Medal Emily Priest, BSc Architecture UG1 Commendation: Dissertation Medal Leon Fenster, MArch Architecture Unit 12 President’s Award for Research Dr Barbara Penner Commendation: President’s Award for Outstanding University-led Research Dr Ben Campkin Commendation: President’s Award for the Outstanding PhD Thesis Dr Emma Cheatle

We are (nearly) 175

In 2016 we will be 175 years old In 1841 Thomas Leverton Donaldson was appointed UCLâ&#x20AC;&#x2122;s first Chair in Architecture, one of the first in the UK, founding what later became The Bartlett School of Architecture. To celebrate this milestone, in 2016 we will be organising a number of one-off events and activities, including: The Bartlett School of Architecture 2015

Major lectures by big-name speakers including the inaugural Donaldson Lecture Exhibitions, conferences and events at our newly refurbished home, 22 Gordon Street The launch of a series of anniversary student bursaries funded by alumni and friends A special publication celebrating the history of the School and the work of notable staff and alumni We will be looking for support from friends, alumni, associates and followers as the grand occasion unfolds. For more information, go to bit.ly/Bartlett175 #Bartlett175

Image: Visiting Lecturer Buckminster Fuller instructs students on building a Geodesic Dome, 1962. Photo: Guy Hawkins 24

AAE 2016 Research-based Education 7 – 9 April 2016 at The Bartlett School of Architecture

We are pleased to be hosting the Association of Architectural Educators 3rd International Conference on a theme of ‘Research-based Education’ in April 2016. The Association of Architectural Educators develops and supports communities of practice in architectural education in the UK and Ireland. It aims to foster inclusive dialogues between students, employers and educational and professional bodies, and to encourage critical and reflective discourses around teaching and learning, promoting the value, diversity and quality of architectural education. The Bartlett School of Architecture 2015

Full conference announcement: July 2015 Confirmation of keynote speakers: September 2015 Submission date: November 2015 Details will be posted at bartlett.ucl.ac.uk/architecture and architecturaleducators.wordpress.com

BSc Architecture (ARB/RIBA Part 1) 30 Programme Directors: Matthew Butcher, Mollie Claypool

BSc Architectural & Interdisciplinary Studies 150 Programme Directors: Elizabeth Dow, Barbara Penner

Image: BSc Architecture Year 1 studios

Year 1

Longing and Belonging: The First Year in Architecture Nat Chard, Frosso Pimenides

Year 1 Staff Dimitris Argyros, Tamsin Hanke, Lucy Leonard, Ifigeneia Liangi, Brian O’Reilly, Frederik Petersen, Eva Ravnborg, Emmanouil Stavrakakis, Catrina Stewart, Emmanuel Vercruysse Architectural Media Studies Tutor Joel Cady

The Bartlett School of Architecture 2015

Year 1 Coordinator Emmanouil Stavrakakis Year 1 Administrator James Lancaster Special thanks to Michael Arthur, UCL President & Provost, William Palin and James Willis We are grateful to Laura Allen, Carrie Behar, Peter Bishop, Matthew Butcher, Joel Cady, Kacper Chmielewski, Blanche Cameron, Kate Davies, Mike Hadi, Christine Hawley, Colin Herperger, Simon Herron, Danielle Hodgson, Steve Johnson, Susanne Isa, Carlos Jiménez Cenamor, Markus Lähteenmäki, Zoe Laughlin, Stefan Lengen, Tim Lucas, Samar Maqusi, Josep Miàs, Jack Newman, Alan Penn, Jonathan Pile, Regner Ramos, Peter Rees, Gavin Robotham, James Sale, Luke Scott, Rupert Scott, Bob Sheil, Matt Springett, Alex Sutton, Afra Van’t Land, Graeme Williamson, Simon Withers, Paolo Zaide, Peter, Abi, Bim and all our wonderful friends at B-made

The Bartlett’s BSc Architecture degree programme aims to develop a creative, diverse and rigorous approach to architecture at the outset. Year 1 is centred on the design studio and is taught to the year as a whole. The main intention of the first year is to explore ways of seeing, understanding and interpreting objects, events and places, and learning to look beyond the visible into the unseen. In this way, a place can also be seen as something with its own identity, which each student can interpret. The importance of character and personality is emphasised throughout the design process, whether it concerns analysis, site interpretation or architectural vision. Our aim is to be serious yet playful, passionate and ruthlessly experimental – always pushing the boundaries of possible realities. Year 1 aims to teach students to learn how to draw a thing and how to draw an idea. Thinking through drawing and drawing through making become the primary tools for students in a highly experimental environment. A series of diverse exercises and a group installation project lead up to an individual small building project sited in London. The students started the year in Greenwich, where each was allocated an eight-metre-long slice of the river edge. The students were asked to inhabit the place by drawing its visible and invisible qualities; they described things (river wall and beach) in drawings. Drawing the invisible qualities taught them how to find a way to express a personal sense of the place which surpasses the conventions of architectural drawing. The second project was a group installation where eight groups were situated in historic locations at the Old Royal Naval College at Greenwich. Under the theme ‘longing’ and ‘belonging’, the students explored ways of adjusting a given place, a dialogue was developed between the external beach sites and the internal character and stories of the rooms. It introduced thinking through making and provided the process of design as a collaborative experience. The theme of belonging to a place is constantly in dialogue with longing for another place, a memory or an idea. On a fieldtrip to Paris the students experienced the magic of exploring a city through its buildings, parks, museums, streets, food and air. The final project was to design a small building on the river sites that were surveyed at the beginning of the year. Each student pursed ideas of inhabitation of the river edge in relation to a process of making. Together, the projects form a collective proposal of inhabiting that stretch of the river edge in Greenwich. The life of our first year students is a continuous process of testing, questioning, rethinking and visually communicating a series of design explorations, as part of a studio culture, a community and the city of London. It is a journey of learning skills and knowledge that give students the tools to think, experiment, make lots of mistakes, celebrate their failures and, finally, have fun designing. In this sense we encourage research as the creation of knowledge through discovery.

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The Bartlett School of Architecture 2015

Y1.1

Students Ella Adu, Nour Al Ahmad, Aya Ataya, Kelly Au, Nur (Sabrina) Azman, Gabriel Beard, Natasha Blows, Freya Bolton, Ella Caldicott, Alexandra Campbell, Jun Chan, Seowon (Sharon) Chang, Jade Chao, Lier Chen, Yihan (Zara) Chen, Nikhil (Isaac) Cherian, Hoh Gun Choi, Se (Elva) Choi, Wai (Tiffany) Chong, Lap (Justin) Chow, Krina Christopoulou, Nicholas Chrysostomou, Wai (Thomas) Chu, Wing (Melody) Chu, Peter Davies, Alex Desov, Ashleigh-Paige Fielding, Christina Garbi, Rupinder Gidar, Ela Gok, Christopher Grennan, Samuel Grice, Morgan Hamel De Monchenault, Arthur Harmsworth, Zeng Wei (Glen) Heng, James Hepper, Janis Yip Mun Ho, Qi (Nichole) Ho, Joanna Hobbs, Clementine Holden, Kaizer Hud, Hanna Idziak, Nnenna Itanyi, Hanadi Izzuddin, Georgia Jaeckle, Ziyu Jiang, Harry Johnson, Olga Karchevska, Jaejun Kim, Carmen Kong, Aleksandra Kugacka, Chess Lam, Ka Law, Rachel Lee, Valeriya Lepnikova, Tung (Sardonna) Leung, Hannah Lewis, Yidong (Isabel) Li, Alvin Lim, Minghan (Tom) Lin, Shi Ling, Yeung (Jimmy) Liu, Elissavet Manou, Simina Marin, Margarita Marsheva, Dustin May, Divesh Mayarmani, Oliver Mitchell, Jun Mo, Hoi (Aikawa) Mok, Carolina Mondragon-Bayarri, Holly Moore, Rosie Murphy, Elliot Nash, Rory Noble-Turner, Edie Parfitt, Gabriel Pavlides, Harry Pizzey, Daniel Pope, Samuel Price, Elena Real-Davies, Sam Rix, Felix Sagar, Luke Sanders, Edward Sear, Niraj Shah, Jack Spence, William Stephens, Sarmad Suhail, Zhi (Ryan) Sun, Zhi (Zoe) Tam, Karina Tang, Connie Tang Koon Cheong, Emily Thomas, Ryan Walsh, Claudia Walton, Chun (Heison) Wong, Ching (Cherie) Wong, Ella Wragg, Fan (Lisa) Wu, Yu (Amy) Wu, Ke Yang, Qiming (Douglas) Yang, Hyun (Kevin) Yoon, Fan (Jenny) Zhou, Ziyuan (Oliver) Zhu

BSc Architecture Year 1

Figs. Y1.1 – Y1.9 ‘The Greenwich Instruments’, ORNC, December 2015 Fig. Y1.1 Studio 1: Ella Adu, Jun Chan, Jade Chao, Nicholas Chrysostomou, Samuel Grice, Kaizer Hud, Olga Karchevska, Simina Marin, Elliot Nash, Ryan Walsh, Ching (Cherie) Wong, Chun (Heison) Wong, ‘The Dome’. A triptych of acoustic reflectors amplifies and redirects sounds belonging to the Greenwich coast linking three floors in the dome of Wren’s iconic Old Royal Naval College. Fig. Y1.2 Studio 6: Freya Bolton, Tiffany Chong, Christina Garbi, Zeng Wei (Glen) Heng, Hannadi Izzuddin, Chess Lam, Oliver Mitchell, Harry Pizzey, Luke Sanders, Zhi (Zoe) Tam, Hyun (Kevin) Yoon, Jun Mo, ‘Admiral’s House’. At the Greenwich beach site the primary interest was how the tide hides and reveals the beach. The installation was designed to flood the room with light and movement by

creating a machine. The machine was a kind of baroque theatre piece, that created a notion of the room being flooded with water. Fig. Y1.3 Studio 7: Kelly Au, Ella Caldicott, Lap (Justin) Chow, Rupinder Gidar, Qu (Nichole) Ho, Georgia Jaeckle, Ka Law, Yeung (Jimmy) Liu, Holly Moore, Daniel Pope, Karina Tang, Fan (Jenny) Zhou, ‘Admiral’s House’. 3D scan. This installation exists upon a threshold, negotiating the worlds inside and outside the wall. Fragments of a body held in a frame lie motionless in the window as an echo of a previous presence. Longing for the seas beyond, the visitor is drawn towards the light, they soon find themselves inhabiting this structure which lifts the body, slowly revealing the views outside. Fig. 4 Studio 6: ‘Admiral’s House’. Fig. Y1.5 Studio 2: Nour Al Ahmad, Seowon (Sharon) Chang, Wai (Thomas) Chu, Nikhil (Isaac) Cherian, Arthur

Y1.2 The Bartlett School of Architecture 2015

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Y1.5

BSc Architecture Year 1

Harmsworth, Nnenna Itanyi, Valeriya Lepnikova, Margarita Marsheva, Sam Rix, Felix Sagar, Claudia Walton, Yu (Amy) Wu â&#x20AC;&#x2DC;The Cryptâ&#x20AC;&#x2122;. 3D scan. The journey of pieces of chocolate found on the river edge in Greenwich from the yard level where the steam box was placed onto the wooden baskets that sit inside the crypt. This performance reveals hidden connections of commerce, transportation and belonging between the present and the past of Greenwich.

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BSc Architecture Year 1

Fig. Y1.6 Studio 3: Aya Ataya, Yihan (Zara) Chen, Hoh Gun Choi, Wing (Melody) Chu, James Hepper, Ziyu Jiang, Yidong (Isabel) Li, Hoi (Aikawa) Mok, Imogen Newton, William Stephens, Fan (Lisa) Wu, Edward Sear, Tung (Sardonna) Leung, ‘The Skittle Alley’. Drawing by Edward Sear. This kinetic piece draws on the atmosphere, energy, motion and history of the now still skittle alley. Fig. Y1.7 Studio 4: Gabriel Beard, Lier Chen, Peter Davies, Alex Desov, Joanna Hobbs, Carmen Kong, Hannah Lewis, Alvin Lim, Carolina Mondragon-Bayarri, Niraj Shah, Sarmad Suhail, Rory Turner, Ke Yang, ‘The Skittle Alley’. The installation uses the vibrations caused by the balls rolling on the skittle alley to produce a drawing and a piece of music through a series of three instruments: the seismograph, the gramophone and the chalk tower.

The Bartlett School of Architecture 2015

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making a cup of tea. This act operates as a sequential negotiation of balance, sightlines and the flow of liquid over the abstracted and overlaid landscapes of Greenwich and the tea table.

BSc Architecture Year 1

Fig. Y1.8 Studio 8: Nur (Sabrina) Azman, Alexandra Campbell, Krina Christopoulou, Ela Gok, Christopher Grennan, Janice Ho, Harry Johnson, Rachel Lee, Elissavet Manou, Rosie Murphy, Sam Price, Connie Tang, Emily Thomas, Ziyuan (Oliver) Zhu, ‘Admiral’s House’. A spectator positions her jaw in a neck rest and by moving forward she sets in motion a set of cinematic dolly zoom wings that rotate while the mechanically linked but obscured world behind the wings unfolds an orrery of building sites. Fig. Y1.9 Studio 5: Natasha Blows, Se (Elva) Choi, Ashleigh-Paige Fielding, Morgan Hamel de Monchenault, Clementine Holden, Aleksandra Kugacka, Minghan (Tom) Lin, Dustin May, Edie Parfitt, Gabriel Pavlides, Jack Spence, Zhi (Ryan) Sun, Qiming (Douglas) Yang, ‘Admiral’s House’. Performative work, where two people enact the ritual of

The Bartlett School of Architecture 2015

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BSc Architecture Year 1

Fig. Y1.10 Janis Yip Mun Ho ‘Skeleton Armature: Bicycle Builder’. Image capturing the process of modelmaking for the building project. Fig. Y1.11 James Hepper House for a bootlegger distillery, in the guise of a custom acoustic guitar maker. The secret distillery is concealed within and between the interlocking spaces. The illicit production is ambiguously suggested to a visitor yet never fully revealed. Design, material, and light studies on the scheme. Fig. Y1.12 Jaejun Kim ‘Percussion Maker’s House’. Image of the final model revealing the back entrance view of the percussion workshop, where you can experience the interior spaces and the materiality of the building. Fig. Y1.13 Harry Pizzey ‘House for an Automaton Maker’. A 1:50 section showing the relation of the house with the river during high tide.

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BSc Architecture Year 1

The Bartlett School of Architecture 2015

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BSc Architecture Year 1

Fig. Y1.14 Simina Marin ‘The Place of Redefining Horizon’. building. Upon leaving after surgery, the patient is led out with Sectional model describing the two experiences: the sunlight becoming gradually stronger and more present in the inhabitants’ and the visitors’. Fig. Y1.15 Daniel Pope ‘House for building. a Catgut Stringmaker’. The South-facing elevation highlights how 20-metre lengths of raw sheep intestine connect the string stretching platform to shutters which close slowly as raw intestines are converted into violin strings. A musical bridge bridges the gap between the Thames Path and the entrance to the building inside the river wall. Fig. Y1.16 Arthur Harmsworth ‘Tea House’. A 1:100 model of the second form of the final design detailing materiality and elements. Fig. Y1.17 Shi Ling ‘House for an Eye Surgeon’s Clinic’. The project deals with the sensory aspects of having a poor sight and regaining it again. Tactilities on walls and floor guiding the patient in the

Y1.15 The Bartlett School of Architecture 2015

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BSc Architecture Year 1

Fig. Y1.18 Edward Sear ‘House for a Drum Collector’. Section 1:50 showing the final scheme of the building and moments of its inhabitation. Fig. Y1.19 Jaejun Kim ‘Percussion Maker’s House’. An image of the final 1:50 model (in elevation) showing the relationship with the river. The house creates sounds as the building moves in relation to the tide levels. Fig. Y1.20 Yeung (Jimmy) Liu ‘Greenwich Beach Site Survey’. A 1:20 plan of the river edge revealing layers of materials and light. Fig. Y1.21 Ziyuan (Oliver) Zhu ‘Mapping Spaces between the Real and the Imaginary’. The building façade provides opportunity for people to imagine the occupation of the interior spaces.

Y1.18 The Bartlett School of Architecture 2015

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UG0

Urban Rituals Murray Fraser, Justin C. K. Lau, Sara Shafiei

Year 2 Bingqing (Angelica) Chen, Minesh Patel, Duangkaew (Pink) Protpagorn, Sheau Wei (Amanda) Tam, Fei Waller, Xinyue (Angell) Yao

The Bartlett School of Architecture 2015

Year 3 Samuel Coulton, Kelly Frank, Katja Hasenauer, Jun Wing (Michelle) Ho, Jessica Hodgson, Ka Wing (Clarence) Ku, Tomiris Kupzhassarova, Shirley Ying Lee, Matei-Alexandru Mitrache, Henrietta (Etta) Watkins We would like to thank our consultants and critics: Ben Allwood, Scott Batty, Anthony Boulanger, Matthew Butcher, Rhys Cannon, Aran Chadwick, Nat Chard, James Cheung, Mollie Claypool, Hannah Corlett, Ben Cowd, Kate Davies, Stephen Gage, Manuel Jimenez Garcia, Nasser Golzari, Penelope Haralambidou, Ewa Hazla, Colin Herperger, Bill Hodgson, Konrad Holtsmark, Tom Hopkins, Jessica In, Chee-Kit Lai, Guan Lee, Hazel McGregor, Jamileh Manoochehri, Jack Newton, Luke Olsen, David Patterson, Lukas Pauer, Stuart Piercy, Frosso Pimenides, Jack Sardeson, Natalie Savva, Yara Sharif, Bob Sheil, Neil Stacey, Sven Steiner, Richard Townend, Nina Vollenbröker, Bill Watts We are grateful to our sponsors, Bean Buro

The aim of UG0 is for students to learn how to carry out intensive research into architectural ideas, urban conditions, cultural relations, practices of everyday life, and similar matters – and then use these findings to create innovative forms of architecture for the contemporary city. This year’s theme was ‘urban rituals’, taken in the very widest sense. Ever since humans organised themselves into communities, the importance of ritual has been paramount. We are no different today in our highly technologised capitalist society. It is just that the rituals have changed. This leads to some intriguing questions. How do people inhabit cities through the performance of rituals? What are these differing beliefs and practices? What is the role of ritual within the processes of everyday life, or as part of exceptional spectacular events? How can architecture and urbanism either help or hinder such activities, and connect them to vital issues as energy consumption and urban biodiversity? Standard definitions of ritual refer to factors such as time, rhythm, routine, pattern, habit, location, beliefs, value systems, behaviour, observance, custom, tradition, celebration, ceremony, performance, acting, and so on. Rituals can thus be ultra-low-key in the sense of those carried out repeatedly and consistently as part of daily life. The word can equally apply to the psychological desire for events and spectacles which on the surface might claim to be unique, unrepeatable and deviant, but yet are in themselves an acknowledgment of the need for an agreed temporary respite from normative practices. Indeed, there can be seen to be an overlap between the needs for repetition and exception, and in that sense we can conceive of performance as being part of the theatre of everyday life, with the streets and urban spaces of our cities forming the open space for theatrical performance. How can looking into urban rituals in London – a vast multi-ethnic constellation that contains many different value systems – trigger new ideas about architecture and its role in society? The students’ initial projects were framed as proposals for an object, space, installation, pavilion or other form of insertion into London, with a particular focus on ritualistic behaviour. Their main projects were then on sites they chose where powerful forms of urban ritual already exist, and could thus be added to. In late November, our unit field trip was to Shanghai, where we experienced a vibrant and economically booming city in which pressures of development are creating new kinds of urban rituals, while also frequently coming into conflict with older patterns of everyday life. Other highlights were the beautiful water gardens of Suzhou, where ritual and landscape are fascinatingly blended together.

BSc Architecture UG0

The Bartlett School of Architecture 2015

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Fig. 0.1 Samuel Coulton Y3, ‘Wallbrook Solar Credit Union, City of London, EC4’. Series of physical models. This project proposes the setting up of a Credit Union to look after the interests of the low-paid cleaners in the City of London who have to work through the night. Their bank is situated inside the first large park to be created in that part of town, protected all around by a thin, inhabited wall of poche spaces. The rays and energy from the sun are collected by giant metal ‘flowers’ in the park, with the light and heat then being funnelled down into sunken spaces below the ground. Figs. 0.2 – 0.3 Duangkaew (Pink) Protpagorn Y2, ‘The Soho Congee Club, D’Arblay Street, W1’. Low-relief section; physical model. Chinese migrant workers are badly exploited in Soho, working hard for almost no pay and with little care being given

to their living conditions. Here a new collective facility functions as a temporary club for migrants, hidden behind a typical London façade, filled with prefabricated cubicles in which the residents can sleep, wash, eat and play. Figs. 0.4 – 0.5 Samuel Coulton Y3 ‘Wallbrook Solar Credit Union, City of London, EC4’. Geometric projection; partsection. Drawing on precise analysis of the proportions of Wren’s St Paul’s and St Stephen Wallbrook, a cluster of alabaster domes and carefully designed scoops capture and transmit sunlight to the Credit Union and the underground sleeping rooms for cleaners. In another act of public generosity, the Wallbrook Rover is excavated to enhance the environmental biodiversity of the City of London’s new-found park.

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Figs. 0.6 – 0.8 Jun Wing (Michelle) Ho Y3, ‘Silk Wedding Dress Farm, Fonthill Road, N4’. Interior render; general isometric; construction detail. As part of the lively garment district next to Finsbury Park Station, a silk farm is inserted, with the worms being bred in tall timber lattice towers. Overhead shading is provided by thin webs of spun cables, under which customers can peruse and choose their soon-to-be-cherished silk wedding dress. Fig. 0.9 Kelly Frank Y3, ‘The Royal Astronomical Society Museum, Regent Street, W1’. Section. The stuffy Royal Astronomical Society in Burlington House has lost the capacity to make the subject exciting and relevant to citizens. In this age of popular science, what could make more sense than a new astronomical museum and research centre in Regent Street, sitting behind a retained commercial street-front so

as to encourage shoppers to drop in? Fig. 0.10 Jessica Hodgson Y3, ‘Pop-Up High Street, Loughborough Junction, Brixton, SW9’. Perspective view. The Loughborough Estate is one of the poorest and toughest in London, and so this project contains communal gardening and retail facilities such as ‘pop-up’ shops, greenhouses, youth centre, allotments, park spaces, etc. Constructed out of brick by local residents, it acts also as a skills training exercise through its very creation. Fig. 0.11 Kelly Frank Y3, ‘The Royal Astronomical Society Museum, Regent Street, W1’. Ground floor plan. At the rear of the site, a public garden is used to showcase the wonders of the heavens to passers-by, including an open-air amphitheatre for the dissemination of the very latest astronomical discoveries.

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Fig. 0.12 Sheau Wei (Amanda) Tam Y2, ‘Rites of the Afterlife, Plaistow, E13’. Physical model. In what appears to be a plain crematorium and cemetery in east London, vivid time-based rituals such as Chinese Ancestors’ Day and Sunday league football are forced to share a common site boundary. A redesigned crematorium caters for the deceased from the British-Chinese population while its pathways double as terraces from which to watch hectic football matches. Fig. 0.13 Shirley Ying Lee Y3, ‘Brick and Bread Bakery, Golders Green, NW11’. Low-relief section. Bricks and bread are the stuff of life in suburbs such as Golders Green, not least as part of Jewish tradition, and so this scheme proposes that these baking activities should be combined. Their two tall chimneys act as practical and symbolic references to the domestic

rituals which take place each day in the houses nearby. Fig. 0.14 Matei-Alexandru Mitrache Y3, ‘The Red Nest, St Bart’s Hospital, EC1’. Rendered model. The use of drones to distribute emergency blood supplies would be five times faster and nine times cheaper than using ambulances or motorcycle couriers, so this project imagines the old historic buildings in a busy London hospital being retrofitted to accommodate the good-hearted ‘mosquitos’ which would be buzzing over our heads in their efforts to save lives. Fig. 0.15 Tomiris Kupzhassarova Y3, ‘Billboard Farm, Aldgate Roundabout, E1’. Low-relief section. The large advertising billboards within our cities could be redesigned to be occupied by greenhouses, affordable apartments and community facilities, such as for this busy roundabout on the fringe of the City of London.

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The light and heat that is being produced by the signs is redistributed as a kind of financial subsidy to support the lifestyle of poorer local residents.

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Figs. 0.16 – 0.18 Katja Hasenauer Y3, ‘The Peerless Pool Pleasure Garden, Old Street, EC1’. Low-relief section; perspective views; part-plan. On the former site of a popular 18th century bathing pool, an extensive new pleasure garden is provided for the enjoyment of today’s public. Small theatres, water landscapes, and bags of optical trickery are all employed to bring back sensuousness and playfulness into what is otherwise a tough urban site. Buildings and plants become fused together in a delirious and joyous riot of forms, materials and colours.

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UG1

Living Patterns: Housing Sabine Storp, Patrick Weber

Year 2 Yangzi (Cherry) Guo, Úna Haran, Karolina Kielb, Tobias Petyt, Calvin Po, Ngai Lam (Michelle) Wang, Meng (Tony) Zhao Year 3 Annecy Attlee, Uday Berry, Naomi De Barr, Thomas Cubitt, Alice Hardy, Rikard Kahn, Robert Newcombe, Oliver Parkinson The Bartlett School of Architecture 2015

We would like to thank Samson Adjei, our technical tutor, for his support. A big thank you to our critics: Shumi Bose, Matthew Butcher, Mollie Claypool, Gonzalo Coello de Portugal, Rebecca Fode, Jamie Hignett, Johan Hybschmann, Carlos Jiménez Cenamor, Inigo Minns, Tim Norman, Emily Priest, Safia Qureshi, Peg Rawes, Matthew Springett, Rae Wittow-Williams and also to Florence Bassa, Jamie Hignett, Alan Ma, Aiko Nakada, Timmy Whitehouse and Emily Priest for sharing their work with UG1 For their amazing support, special thanks to Shamsul Alam from Camden Council and Momota Kathun from the St Pancras Estate Tenancy Association, Dr Caroline Newton from The Bartlett DPU and Boonserm and Paula Premthada from Bangkok Project Studio

In his book A Pattern Language (1977), Christopher Alexander catalogues altogether 253 patterns in architecture. Each pattern, or (architectural) element is described as itself and in the context of a bigger system – architecture. They are presented as ‘prototype solutions’ to common problems. The work is based on his earlier work, The Oregon Experiment (1975). In it, communities were encouraged to get more involved in the shaping of their ultimate environment and the architecture they inhabit. This resulted in a community encyclopedia, offering sample solutions to specific issues. According to Christopher Alexander, architecture only exists to solve human problems. London’s population has grown by a million since 2001, the fastest ever rate in the history of London. All these people need somewhere to live. Current predictions forecast that an additional 809,000 new homes are needed by 2021 to meet ever-growing demand in London. This works out as an additional 115,500 households a year, or 9630 a month, or 321 new homes per day. Unless these figures are achieved, house prices will rise to an unaffordable level, the prosperity of the city is in danger, key services will have to be cut because keyworkers are unable to afford to live or commute from where they live to where they work. Combined with ever-growing restrictions on where new developments can take place, restrictions on building on flood plains and destroying green belt land or areas of natural outstanding beauty, an aversion to living in high rise developments, and other local interests that seem to be adversely affected, this creates a problem that seems impossible to resolve. In term 1, our students worked with the St Pancras Way Estate in Camden to develop ideas to transform communal spaces and to initiate a positive change in the use of the public spaces by introducing small-scale architectural interventions. This was followed by an excursion to Bangkok. Students explored the canals (klongs) off the beaten track to discover how the informal approaches of living in this city allow communities to knit tightly together. In the final stage, our students speculated and (re)invented new housing typologies and ways of living in the dense urban context along the Regents Canal in Kensal Town and Ladbroke Grove. The projects include a variety of different living concepts along the canal: communal living, self-build initiatives, housing for the elderly, co-housing typologies, shared housing for young mothers, and new buffer housing on top of the local supermarket for tenants evicted from demolished estates in the area.

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Fig. 1.1 Calvin Po Y2, ‘Outposts’. This proposal seeks to decentralise the community hub by creating distributed, outposts of ‘community’ that can be adapted according to the resident’s needs using standard scaffolding parts. Fig. 1.2 Tobias Petyt Y2, ‘Tree Housing’. Inspired by tree houses, the project is sited next to the canal, emulating tree houses both in structure and ideal, creating a diverse escapist tree community in the skies. Fig. 1.3 Karolina Kielb Y2, ‘Shared Housing for Single Parents’. The building accommodates single young parents. The shared housing scheme allows young parents to learn from one another within the shared open space and a surrounding public space. The building allows inexperienced parents to learn, socialise and share the same experience whilst living together. Fig. 1.4 Meng (Tony) Zhao

Y2, ‘Start-Up Incubator’. The project is a collective home/office for startup entrepreneurs; it’s a building which combines commercial working spaces and communal living spaces together. Fig. 1.5 Annecy Attlee Y3, ‘Party Line’. The project responds to the dual crises of housing and water supply in London. The project is also driven by an interest in infrastructure. With ambiguous ownership and confrontation between neighbours, the party wall is readapted to emphasise the individual’s role as a part of an interconnected system to encourage harmony.

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Fig. 1.6 Robert Newcombe, Y3, ‘Sainsbury’s Buffer Housing Cloud’. Providing temporary accommodation for social housing evictees and homeless people, a cantilevering lattice suspended above the supermarket building in Ladbroke Grove blurs into the context of the canal and gasholders, framing flexibly configured inflated housing units. Fig. 1.7 Alice Hardy Y3, ‘I Heard it on the Washing Line’. Using the balcony as theatrical platform, the project aims to intervene with the current uses and bring a fun alternative which would spark subtle interaction between residents in the estate whilst providing practical uses for the balconies through a series of frameworks and attachments.

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Fig. 1.8 Yangzi (Cherry) Guo Y2, ‘Willesden Halfway House’. The project proposes a housing scheme providing short-term accommodation for ex-inmates of Wormwood Scrubs Prison who would find themselves homeless immediately upon their release. Fig. 1.9 Úna Haran Y2, ‘Hot Housing’. A housing scheme aimed at elderly residents which incorporates commercial horticulture into their everyday lives. Located beside the Grand Union Canal, the housing project uses barge freight to transport stock for sale. Fig.1.10 Ngai Lam (Michelle) Wang Y2, ‘Housing for XL Families’. This scheme aims to house very large families, who are underprivileged and underrepresented on this extra narrow and long site. Each unit is connected to the next, creating a continuous flat that can potentially fill up the length of the site.

Fig. 1.11 Annecy Attlee Y3, ‘Party Line’. Typical plan of housing units in Kensal Rise. Fig.1.12 Naomi De Barr Y3, ‘The Arable Housing Project’. The project aims to be self-sufficient and forms a landscape that educates people about food production. There is forced intimacy and coexistence between people and the surrounding landscape. The environments created assist the growth of produce and create comfortable environments for those who live there.

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Fig. 1.13 Rikard Kahn Y3, ‘Housing By The Metre’. The aim of the project is to provide homes for first-time buyers currently unable to get on the housing ladder. Housing units are sold ‘by the metre’; residents buy what they can afford initially and then extend their living space incrementally as they develop socioeconomically. Residents are provided with a basic ‘core’ dwelling to which extended elements can be attached when needed. The homes can grow, reduce and adapt incrementally over the lifetime of the individual residents, resulting in unique housing units bespoke to the homeowners. Fig. 1.14 Oliver Parkinson Y3, ‘Hydro Hydraulic Habitation’. A mixed-use high density housing scheme built on the anticipation of future flood risk to our built environment. The scheme embraces rather than barricades against water, utilising the redundant

canal network as a future asset. The narrow high-rise typology floats on a series of pontoons, all of which are constructed as modular components. These pieces can be constructed along the canal systems as far as Birmingham, enabling the scheme to be rolled out onto flood zones, subverting our current attitude towards living near water. Fig. 1.15 Oliver Parkinson Y3, ‘Mind The Gap’. The intervention makes use of the unused spaces or ‘gaps‘ found in St Pancras Estate in Camden. A steel frame made from scaffolding tubes forms the basis of the structure, orientated in different positions to suit three specific functions: a book-swap reading room, cycle repair stand and a chicken coop. 1.16 Rikard Kahn Y3, ‘Housing By The Metre’.

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integrates bovine farming with a multiple housing scheme. The project aims at creating a new community of urban farmers who are able to earn a livelihood through farming on site. The housing complex aims to bring the countryside into the city through series of green roofs forming pastures for cattles. Fig. 1.20 Thomas Cubitt Y3, ‘Baby Boom Town 2035’. Set in 2035, Baby Boom Town is a multigenerational housing development along Harrow Road where 60% of its units are assigned to the elderly. Large access corridor’s provide additional storage and open areas which the flats can expand into when the residents have guests. This aims to create a situation where the elderly remain socially engaged and a close interaction is established between all the neighbours.

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Fig. 1.17 Alice Hardy Y3, ‘Lots Leftover’. A strip of leftover space in Kensal Town, 6m wide and 160m long, traditionally unsuitable for a dense residental development. A thin steel spine runs the length of the site, providing access and a structural framework for various unit typologies to attach to. Fig. 1.18 Calvin Po Y2, ‘Inhabitated Kilns’. The project proposes housing for a community of ceramic artists that grows around an abundant natural resource: the local London clay found under the site. The design attempts to address key issues of how to maximise the use of the London clay in construction, how to allow artists to have self-built indviduality alongside their living and working spaces, and how to do so in high density in the context of Kensal Town. Fig. 1.19 Uday Berry Y2, ‘Kensal Rise Farmlands’. A working and living housing model that

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UG2

SimbioCity Damjan Iliev, Julian Krueger

Year 2 Yat (Heidi) Au-Yeung, Hoi Man (Christy) Cheung, Lester Tian-Lang Cheung, Maria Marysia Chodzen, Klaudia Kepinska, Yik Yu (Romario) Lai, Maryna Omelchenko, Issui Shioura, Ben Sykes-Thompson

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Year 3 Nicola Chan, Ka Yi Kwan, Cheoi-Yeung (Nick) Park, Catherine Penn, Sophie Tait, Astrid Von Heideken, Allegra Willder Thanks to our technology consultant, Robert Haworth. Thank you to our guest critics for their wit and wisdom: Kathy Basheva, Harry Bucknall, Matthew Butcher, Mollie Claypool, Melissa Clinch, William Firebrace, Murray Fraser, Mikala Holme Samsøe, Luke Olsen, Yael Reisner, Amandus Sattler, Bob Sheil, Guvenc Topcuoglu, Barry Wark

We are interested in cities, their patterns, structures, and the variety of spaces and ecosystems that exist within them. This year we deepened our ongoing research by focusing on the relationship between formal and informal modes of settlement as interdependent, symbiotic entities within the fragile and often unsustainable environment of Rio de Janeiro. To design in these circumstances we needed to further our understanding of various geopolitical, socioeconomic and environmental implications set within an increasingly complex and dynamic city. We considered contentious topics ranging from population expansion, gentrification, demolition and transportation to deforestation and land-use zoning. The reality of these issues has moulded Rio de Janeiro’s urban fabric into a continuously transforming landscape, a patchwork of organised and unorganised enclaves offering fertile ground for architectural surprise and innovation. Project 1: Urban Catalysis The year began by conducting a series of exploratory studies aimed at understanding specific sites in Rio that have been transformed by both formal and informal forces into unique spatial conditions. Our findings led towards the development of speculative urban scenarios, outlining new models for living and working in the city. Project 1 emerged as an in-depth analysis of a key segment in our proposed scenarios. It was further refined through the synthesis of broader functional, environmental and technological implications. The approach to this project was experimental: propositions ranged from small-scale architectural constructs to large strategic masterplans with shared requirements where cohabitation, socialising or governance can take place. Project 2: Hybrid Habitats Following our fieldtrip we combined Project 1 investigations and onsite experiences into hybridised building programmes tuned to revitalise specific sites within the city centre. The unit had to demonstrate an entrepreneurial capacity bringing together unexpected urban conditions, users, social issues and building functions. Students were encouraged to combine divergent themes such as the planned and spontaneous, the homogenous and diverse, the explicit and subversive, the synthetic and organic. UG2 pursued architecture as a hybridised entity capable of combining unorthodox functions and processes that currently define much of the organisational character of Rio de Janeiro. Students’ final projects culminated in the proposals of prototypical building typologies and adaptive infrastructures within the context of ecologically responsive and specialised environments.

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Fig. 2.1 Ben Sykes-Thompson Y2, ‘Transport Service Interchange and Sport Complex’. The project investigates the introduction of a responsive transport and service network across Rio to link the disconnected informal ‘favelas’ to the surrounding formal ‘barrio’. The creation of a sports complex between two communities aims to encourage interaction and focus growth around the seams of the fractured city. Fig. 2.2 Sophie Tait Y3, ‘Rio Community Theatre’. The project explores various notions of transformative architecture and provides a variety of stages and spaces for experimental and interactive performances. Fig. 2.3 Klaudia Kepinska Y2, ‘Museum of African-Brazilian Culture’. The museum is located on an important archealogical site and acts as a permanent memorial of the violence against humanity that the slavery

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period represented. Fig. 2.4 Ka Yi Kwan Y3, ‘Fitness Farm and Spa Centre’. This sports facility uses the sun’s energy to create a variety of micro-climatic zones inside and around the building to increase the performance of its users. Fig. 2.5 Ben Sykes-Thompson Y2, ‘Transport Service Interchange and Sport Complex’.

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Figs. 2.6 – 2.7 Nicola Chan Y3, ‘Float to Favela’. A project that identifies three key issues in Rio de Janeiro’s favelas: ‘water and sanitation’, ‘health and rehabilitation’ and ‘nature and public space’. It takes advantage of the popular and widely broadcast Rio Carnival to approach these topics in the form of socially-conscious float designs that are then recycled, reused and repurposed to create functional favela counterparts that are useful for the surrounding community. The water float is reconstructed into a rooftop laundrette, the nature float; a favela park, a growing hub and adventure park; and the health float, a drop-in rehabilitation centre. The idea is that these counterparts will be added to gradually over the course of many years. Fig. 2.8 Cheoi-Young (Nick) Park Y3, ‘Pigment Factory and Market’. Due to various ongoing Olympic

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Game developments in the favelas, before the demolition of culturally important buildings has caused the loss of the harmonised community. By proposing a pigment factory and market, the project aims to regain the sense of community through introducing colour to the surrounding context, but also providing jobs and much needed amenities to the local residents.

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Fig. 2.9 Issui Shioura Y2, ‘Medical Marijuana Centre’. This building project speculates on architecture dedicated to the research and consumption of marijuana as a legalised drug. Fig. 2.10 Hoi Man (Christy) Cheung Y2, ‘Sports and Spa Complex’. The project aims at narrowing the social gap between the rich and the poor in Rio de Janeiro, through using ‘beauty’ as a theme for social interaction. Fig. 2.11 Catherine Penn Y3, ‘The Mangrove Reforestation Centre’. An ecotourism resort focusing on the reconstruction of historical mangrove forests around the Barra Tijuca. Fig. 2.12 Allegra Willder Y3, ‘Religious Community Centre’. The purpose of the centre is to provide the people of the Flamengo neighbourhood with the opportunity to address their wellbeing in terms of mind, body and spirit. Fig. 2.13 Maria Marysia Chodzen Y2, ‘Instituto

Árvore de Rio de Janeiro’. A museum dedicated to the forests of Brazil and also a tree-growing nursery, which provides seed banks, seed drying, germination and tree planting processes for the replantation of trees into favelas. Fig. 2.14 Yik Yu (Romario) Lai Y2, ‘Library Garden’. The design takes into account technical innovation of aeroponics as the basic means of growing native guarana berries while spatially experimenting the interplay between vegetation, people movement, and library facilities. Fig. 2.15 Maryna Omelchenko Y2, ‘Favela Residential Extension’. This scheme investigates and proposes a strategy to build new homes in the favela through the use of sustainable materials, the provision of community facilities and public spaces.

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Fig. 2.16 Lester Tian-Lang Cheung Y2, ‘Rio Art Biennale’. The project proposes a series of workshops and open air exhibition spaces to accommodate the annual art bienalle festival. The upper floor of the building is dedicated as a living area for artists-in-residence. Fig. 2.17 Astrid von Heideken Y3, ‘Archive of Lost Architecture’. The archive and exhibition pavillion is located in the centre of Rio de Janeiro and addresses the history of lost colonial architecture. Fig. 2.18 Yat (Heidi) Au-Yeung Y2, ‘Portable Music Venue’. The project investigates lightweight transportable architectures that also provides music and performance facilities for the Afro Reggae movement in Rio de Janeiro. Fig. 2.19 Lester Tian-Lang Cheung Y2, ‘Rio Art Biennale’.

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UG3

1:1 Jan Kattein, Julia King

Year 2 Richard Aina, Carrie Coningsby, Alessandro Conning-Rowland, Francis Hardy, Iman Mohd Hadzhalie, Angus Iles, Subin Koo, Charles Redman, Louise Rymell, Shona Sharma, Rachael Taylor

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Year 3 Christophe Dembinski, Yangyang Liu, Panagiotis Tzannetakis, Valerie Vyvial, Maximillian Worrell Special thanks to Emma Bennett, William Hodgson, John Lyall, Helen Mulligan, David Eland, Jane Riddiford, Nicole Van den Eijnde; and to critics Jake Attwood Harris, Matthew Butcher, Mollie Claypool, Elizabeth Dow, Jonathan Hill, Bethan James, Manuel Jimenez Garcia, John McElgunn, Maurice Mitchell, Ben Stringer, Bob Sheil With generous support from Argent, Arup, Bam Nuttall, Bikeworks Bethnal Green, The Bartlett School of Architecture Project Fund, CALT small grant, Carillion PLC, City of London, EPSRC’s Impact Acceleration Fund, Free4m Consulting, Globe Scaffolding, Grow Wild Fund, Heyne Tillett Steel, HSS Hire, Kier, Lawsons, Max Fordham, Metalcraft, Milk Engineering, Rammed Earth Consulting, Roca, Rotamead Scaffolding, The Secret Garden Party, Structure Mode, Vinspired, Webb Yates, 241 Ltd

The role of the architect has changed fundamentally during the last decade. Technological progress and environmental changes have introduced a whole new set of parameters into architectural practice. And there is a definite sense of accountability. Resources are scarce; climate change is a reality. Our work must consider today as well as tomorrow. Design has evolved from the endeavour of the lone genius into a tool for engagement and dialogue, empowering communities all over to contribute towards the shaping of their city. Gone are the days where the word ‘architecture’ merely described an inanimate object. The age-old tools of the trade are blunt and many young architects are realising that drawing is a solitary pursuit. Some of the most innovative practices today use making, performance and events to engage others in their spatial practice. Making at 1:1 scale is about a process of learning by encounter that is true to how cities are experienced and what makes them a generator for change. Making is a strategy for provoking ideas and responses from the community. Making can generate design solutions that are immensely specific to their site are sustainable and can accommodate change. The city is a fluctuant entity, highly dependent on the ebb and flow of the global socioeconomic context. How might our work define a new type of architecture that can change and adapt to the changing needs of its occupants? How can making contribute towards a new understanding of architecture as an activity that can incrementally realise spatial opportunities? And how can our practice serve as a tool to engage communities? This year, UG3 has embarked on an unprecedented challenge. We are designing to a real brief, responding to a real client and are making on a real site in Central London. Innovative design solutions are the result of satisfying a present need and responding to an actual set of parameters. Teamwork and collaboration – essential skills of the professional architect – are of utmost importance for the success of the project.

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Fig. 3.1 Rachael Taylor Y2, ‘The Glass House Lantern’. The Skip Garden is an urban food oasis in the middle of the King’s Cross development site. A vertical growing space hosts twilight gardening sessions – a productive exchange between the diverse communities occupying the King’s Cross site. The facade, a low-tech curtain wall made from reclaimed sash windows supported with a scaffoldboard wall that straddles a shipping container. Fig. 3.2 Yangyang Liu Y3, ‘UG3 Skip Garden’. For the first time in living memory, Bartlett students made a planning application. Grouping all the permanent structures into one application the unit received permission in January 2015. Fig. 3.3 UG3, ‘Client Meeting’. The unit swapped crit sessions for client meetings. An intimate dialogue between the students and the client encouraged Global Generation to

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take ownership of the projects. 1:20 scale models of the proposals were arranged on a plan of the site. Meetings like this were used to not only scrutinise the projects but for the students to understand their individual projects in relation to each others and the site. Fig. 3.4 Yangyang Liu Y3, ‘Water Purification Landscape’ (foreground). In the old Skip Garden, a small reed bed system at the back of the kitchen was used to purify the waste water from the café kitchen for watering. The design provides a wetland dining area, the first large-scale commercial reed-bed water filtration scape in London. Pedal pumps are integrated into the system to lift the filtered water into a water storage tank where it can be then used for gravity-led irrigation.

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Fig. 3.5 Alessandro Conning-Rowland Y2, ‘Earthbag Coolstore & Office’. The reclaimed timber structure is in-filled using recycled coffee sacks from a local coffee roastery filled with earth. This provides the potential to increase the Skip Garden’s growing capacity, as well as a natural cooling effect from the evaporation of the damp earth-bags. On top of the storage room sits the garden’s existing office and a decking area. Beneath the decking rainwater is collected which keeps the earth bags moist. The design also features a distinctive ventilation stack designed with maximum sun-facing surface area to help drive the ventilation of the storage room, keeping the produce within fresh. Fig. 3.6 Valerie Vyvial Y3, ‘Chicken Coop’. The garden’s ecologic cycle was missing one critical link to display a closed system – a heterotroph organism. The

proposed structure is home to three chickens which were raised throughout the year in Valerie’s garden, ready for re-locating to the Skip Garden during the summer. The structure of the coop revolves around a 3.4m long silver birch tree from Hampstead Heath. The primary structure is bamboo joined by steel fixings cast into the bamboo. The birch panels that cover the coop are based on the missing silver birch leaves creating a lantern effect at night. Fig. 3.7 Maximillian Worrell Y3, ‘Inflatable Civic Hall’. As privatisation of public space in the capital marches on relentlessly, ad-hoc community meeting space is provided by a transient structure mounted on the back of a mobile cart. Inside, a cosy ambience encourages interaction, exchange and dialogue.

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Fig. 3.8 Iman Mohd Hadzhalie Y2, ‘Hydroponic Hedge’. The timber structure supports a hydroponic system, made of upcycled wine glass bottles, suspended from the frame by steel wire rope and held in place by digitally manufactured acrylic bottle holders. Between the herb-growing planters an aromatherapeutic workspace invites for respite from the busy urban surroundings. Fig. 3.9 Christophe Dembinski Y3, ‘100 Hands Hall’. A rammed earth wall forms the backbone to a dining and growing hall. The laboursome construction process was chosen to engage and educate communities from accross London in sustainable construction techniques. Fig. 3.10 Rachael Taylor Y2, ‘The Glass House Lantern’. At night the building illuminates with a chandelier made from reclaimed bottles which refract light, casting shadows of the occupants

onto the earth of the surrounding garden. Fig. 3.11 Carrie Coningsby Y2, ‘Rain loos’. Reclaimed railway sleepers and boarding are stacked to form two cubicles. A membrane stretched over a steel spaceframe collects rainwater which is directed into the flushing cisterns. Fig. 3.12 Subin Koo Y2, ‘Floating Landscape’. Working with a speculative brief this project proposes a permanent home for Global Generation near Kings Cross. Set by the canal the building is arranged as an educational hub giving insight into ecologic cycles. Fig. 3.13 Yangyang Liu Y3, ‘Water Purification Landscape’. The constructed wetland is based on a modular design where native wetland plants such as yellow flag iris, juncus effucus and phragmites grow inside reconfigurable boxes. Fig. 3.14 Shona Sharma Y2, ‘Knitting a Community’.

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This project recognises that there is a relationship between encouraging creativity and establishing a community. A giant knitting nancy turns a solitary undertaking into a communal quest. The end of the process sees the materialisation of a meshed pavillion for public events and tea drinking. Fig. 3.15 Charles Redman Y2, â&#x20AC;&#x2DC;Welcome Shelterâ&#x20AC;&#x2122;. The welcoming shelter occupies a prominent position adjacent to the Skip Garden kitchen. A complex mechanism allows the structure to pivot around a central axis whilst simultanously opening and closing the front gate. The resulting spatial transformation provides for variable degrees of intimacy when dining.

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UG4

Monumetric Ana Monrabal-Cook, Luke Pearson

Year 2 Iman Datoo, Danny Dimbleby, (Yi) Ning Lui, Ben Mehigan, Liam Merrigan, Kate Woodcock-Fowles, Minh Tran Year 3 Flavian Berar, Laszlo Von Dohnanyi, Egmontas Geras, Ye Lone Jarrell Goh, Olivia Hornby, Patrick Horne, Francesca Savvides, Elin Soderberg, Priscilla Wong The Bartlett School of Architecture 2015

Special thanks goes to Gavin Hutchison for his continued dedication as our technology tutor, and all the other module tutors who supported the students’ work. Many thanks to everyone we visited on our Monument Valleys roadtrip, especially William Whitaker at the Kroix Gallery, Penn Architectural Archives. And thanks to all our critics across the year for their invaluable and challenging input: Laura Allen, Sebastian Andia, Iain Borden, Shumi Bose, Matthew Butcher, Ben Campkin, Kristijan Cebzan, Mollie Claypool, Stewart Dodd, Killian Doherty, Penelope Haralambidou, Gavin Hutchison, Johan Hybschmann, Will Jefferies, Carlos Jiménez Cenamor, Alex Kirkwood, Frosso Pimenides, Manija Verghese, Robin Wilson, Sandra Youkhana

UG4 continues its explorations into architectures of public delight, antipathy or bemusement by examining the role of clarity, resolution and imagery in communicating and propagating spaces and events. Working with an architectural typology that keeps the symbolic at its heart, this year we explored the notion of the monument. Monuments have typically been thought of as static forms – a remembrance or commemoration of a moment frozen in an architectural form. The great cities of the world define themselves and their achievements through their monuments – an architectural form used as a unit of measure. But monuments have always sat at the junction between symbolism, power, technology and memory. What they mean and what they stand for can change in an instant; they are judged within the context of time (historic) or place (geographic). Rem Koolhaas used the term ‘automonument’ to describe the skyscrapers of New York, how these totemic structures became a testament to technology, power and progression. A building does not have to be designed as a monument to become monumental. We embarked on our Monument Valleys field trip, a 1000-mile journey through Philadelphia, Washington DC, Pittsburgh and New York. Passing through the heartland of American democracy, we took in the Mall’s constellation of monuments, circulated the Pentagon, drove Levittown’s suburban sprawl, explored a Louis Kahn building site and gazed at the floating monuments to consumerism at the Macy’s Thanksgiving Day Parade. In relation to this, we framed our approach towards monumentality into three categories: ‘pop’, ‘plop’ and ‘process’. ‘Pop’ suggests that technologies of the everyday can create new contexts in which a building becomes monumental. If Venturi and ScottBrown’s architecture learned from Las Vegas’ landscape of pop monuments, we asked how could the monumental emerge through the millions of new symbols technology inserts into our lives at every level? James Wines coined the term ‘plop’ to describe the way modern art pieces were slapped outside banks and shopping malls as a cultural afterthought. Plop perseveres in the world of international ‘starchitects’ – with oversized 3D models splattered across the world this way and that. We questioned how monumentality could occur in the rupture between a building and its context. Louis Kahn spoke of monumentality as a way of memorialising living values through an architectural process. Certain buildings become the exemplars of historical techniques, construction, and ways of thinking about architecture. We explored how the ingenuity of today might become the monuments of tomorrow. Beginning the year with a game of chance, students pursued a project based on the results of our ‘Random Monument Generator’ software. The strange juxtapositions and proto-typologies this produced served as the starting point for a year exploring new manifestations of monumentality in the information age.

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Fig. 4.1 Patrick Horne Y3, ‘Duquesneland’. Taking from Baudrillard’s ideas of the American ‘hyperreal’, Dusquesneland is a theme park sited in Pittsburgh PA that encodes the industrial heritage of the city into a scheme located on the Duquesne Incline. The park explores the steel industry and Pittsburgh’s multicultural history, taking visitors on a journey through carefully cultivated spaces, reframing the city as a miniature world before revealing the strategic manipulations that underpin the architecture, calling into question the idealised version of the city the project initially appears to present. Figs. 4.2 – 4.3 Danny Dimbleby Y2, ‘The 2nd Amendment’. A building for the licensing of guns, in line with new Washington DC legislation. The architecture becomes one of symbolic fragment and intimidation, a built manifestation of

the divisive nature of the Second Amendment. Figs. 4.4 – 4.5 Ben Mehigan Y2, ‘Reconstructing Carrie’. Sited at the Carrie Furnace in Homestead, PA, the project reframes an industrial relic through a tactile architecture explored through techniques such as 3D printed drawings. Figs. 4.6 – 4.9 Egmontas Geras Y3, ‘Windows to Williamsburg’. A library sited at the Domino Sugar Refinery in Brooklyn. Using the existing frontage the project is explored through façade retention and concrete casting. The library becomes a series of ‘shelves’ that hold the storage and reading spaces between them. Using scaled models and digital fabrication, the project explores the process of concrete pouring as a choreography, where precast elements become funnels and channels for in-situ casting, eventually becoming entombed within the built fabric.

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Fig. 4.10 Kate Woodcock-Fowles Y2, ‘The (Rube Goldberg) Freedom of Information Building’. The project proposes a government run centre for Freedom of Information request processing. Through its ‘Rube Goldberg’ complexities, it presents an exasperating space, reflecting the exhausting bureaucracy of actual FOI requests. Figs. 4.11 – 4.12 Laszlo Von Dohnanyi Y3, ‘The Arch of Dymaxion’. Exploring a 3D space suggested only through flat website images, the project reconstructs a cemetary arch step-by-step, showing the slippage between 2D and its transcoding back into 3D. Fig. 4.13 Laszlo Von Dohnanyi Y3, ‘Rhizome Island’. Sited on North Brother Island, above Manhattan, the building proposes a museum for digital arts foundation Rhizome. Through a series of interfaces allowing digital artworks to be shown at varying

scales, the architecture and the art piece combine into one form, emphasising the translation of data into spatial information. Figs. 4.14 – 4.17 Jarrell Goh Y3, ‘The Food Rescue Centre’. Concerned by the amount of waste food discarded by supermarkets, the scheme became a research project into building with food. Through tightly controlled tests, waste food bricks and ‘potato terazzo’, along with naturally dyed concretes, were developed containing much lower embodied energy than typical building materials. The Food Rescue Centre applies these materials into cladding systems, compressive structures and furniture. As a public outreach centre and restaurant, the building sits atop vermin-proof foundations, with facilities for processing and drying waste food, introducing people to its potential as an architectural material.

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Fig. 4.18 Flavian Berar Y3, ‘An inside-out, upside-down Statue of Liberty’. Investigating the morphology of monumentality, the project proposes a distorted, skewed, inflatable Statue of Liberty that is flown from the torch of the iconic structure. A series of Grasshopper studies explored how the symbolic hierarchy of the statue could be changed, and how far one could still recognise its form through details, even when rescaled and distorted. Fig. 4.19 Flavian Berar Y3, ‘Rehousing Macy’s Thanksgiving Day Parade’. The project proposes a workshop and assembly centre for Macy’s Parade inflatables. The buiding provides an inflatables hangar as well as a ‘birthing canal’ built into the building’s elevation through which the inflatables emerge, using peristaltic movement. Fig. 4.20 Minh Tran Y2, ‘The Lake of Telescribing’. A monument to

communication sited next to the 33 Thomas Street data centre building. The internal courtyard produces an immaterial landscape of wifi signals within a cloistered space. Fig. 4.21 Liam Merrigan Y2, ‘17927 - Centralia New Frontier’. Sited in the ghost town of Centralia PA, a place ravaged by a mine fire since the 1960’s, the New Frontier proposes an architecture that sits at the heart of a new colony developed around mineral collection. The site’s unusual levels of heat and chemical reactions produce rare minerals found in few other places on earth. Built into the ground and supported by a geothermal powerplant, the building provides a research centre and deposition facility for the processing of rare minerals. A series of drawings in the style of a graphic novel examine the new economy and inhabitants drawn to this inhospitable landscape.

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Brooklyn Naval Yards, the historical site of the famous Wallabout Market. Sitting on a raised ‘false hill’ the project proposes replacing the language of signs and branding with architectural zones. Visitors are taken on a journey through the tower, exploring local produce as the architecture combines with food production methods, framing its colours, textures and smells. Using an AutoStore system, robotic containers weave a choreography across the main atrium, carrying produce to be collected at the end of the route.

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Fig. 4.22 Iman Raisa Datoo Y2, ‘The Curtain Twitching Courthouse’. Derived from a term-long study of Levittown, the courthouse provides a venue for the resolution of domestic disputes in Levittown, PA. Inspired by news stories of gnome shootings, as well as the history of Levittown as a Sears Catalogue kit of parts, the project plays with the scale and symbolism of the surrounding suburban community. Referencing the work of designers such as Ettore Sottsass, the project proposes an architecture that slips between image and reality, like a building bought from a catalogue, providing a new landmark for a place with no centre. Figs. 4.23 – 4.25 Priscilla Wong Y3, ‘The Hungry Hippodrome’. The project challenges the horizontal typology of the contemporary supermarket, proposing a monumental temple to food in the

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Fig. 4.26 Francesca Savvides Y3, ‘Open Secrets’. In the face of regulation of Washington DC lobbying, Open Secrets provides a ‘last chance saloon’ for the open discussion of policy, then subverts this with details designed to catch lobbyists out through acoustic strategies. Situated on The Mall, the project plays with the symbolic tropes of DC, with half-severed domes, false porticos and double-faced columns. Fig. 4.27 Yi Ning Lui Y2, ‘A Homage to FLW...’. Using a kaleidoscope to distort details of Frank Lloyd Wright buildings, the project proposes a monument to his life, a space that encapsulates the fictions and underbelly of his persona. Fig. 4.28 Francesca Savvides Y3, ‘Classical/Brutal’. Exploring the dichotomy between Washington’s Neoclassical symbols of democracy and their brutalist governmental Headquarters,

the project explores an architecture that slips between the two through a series of retractable ornaments. Fig. 4.29 Olivia Hornby Y3, ‘Hacklab’. Sited in Chicago’s Medical District, the project proposes a scientific research centre based around out-of-date but still functioning equipment from the Fermilab Hadron Collider. Figs. 4.30 – 4.32 Elin Soderberg Y3, ‘Unstable Ground - Centralia Town Hall’. The project proposes a new town hall for Centralia, a mine-fire ravaged ghost town in Pennsylvania. The building reacts to the subterrean conditions with a controlled cracking and degredation. Referencing the Russian Orthodox church that still stands nearby, and using traditional construction methods for protecting against inhospitable conditions and heat, the project develops a new vernacular for the uncertain future of Centralia.

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Speculative Landscapes Julia Backhaus, Pedro Font-Alba, Martin Tang

Year 2 James Bradford, Jack Cox, Alexander Findley, Samuel Napleton, Bethan Ring, Ken Sheppard, York Tsing (Nerissa) Yeung, Yuanchu Yi Year 3 Florence Bassa, Oliver Colman, Ren Zhi Goh, Niema Jafari, Jonah Luswata, Alan Ma, Masahiro Nakamura, Sylwia Półtorak The Bartlett School of Architecture 2015

Thank you to our technical tutors Dimitris Argyros and Mick Brundle. Thanks to our critics: Lucas Alperi, Kyle Buchanan, Mathew Butcher, Barry Cho, Mollie Claypool, Marcos Cruz, Hwei Fan Liang, Lydia Firminger, Bruce Irwin, Carlos Jiménez Cenamor, CJ Lim, Tom Partridge, Peg Rawes, Bob Sheil, James Soane

UG5 is interested in the contemporary landscape. The term ‘landscape’ emerged around the turn of the sixteenth century to denote a painting whose primary subject matter was natural scenery, natural forms (hills, lakes), occupied by flora and fauna. A landscape is therefore an idealised depiction of the natural world, flattened from a single perspective and produced for consumption. It is by definition a human construct, a cultural fabrication. We have particularly focused our research on the landscape as a speculative terrain. We refer to speculation in its double connotation: as exploited for profit but also as a place for experimentation and innovation. On one hand, the natural environment is increasingly the subject of exploitation for food, goods and resources, driven by speculation and profit. Intensive agriculture, mining, farming, waste processing and other industrial activities have eroded these natural settings into manufactured landscapes: highly processed terrains, often of surreal and striking beauty. On the other hand, these remote natural sites are often testing grounds, fuelling technological progress. From the simulation of space travel, to nuclear weapon testing or the calibration of fighter planes and satellites, these activities leave a mark on the surface of the earth sometimes as important and lasting as geological shifts. They also enable technological progress, problematising preconceptions of the distinction between natural and artificial. From this standpoint, we associate the landscape with the place of future vision, forecast and imagination. ‘Speculation’ implies risk, conjecture and imagination, which we adopted as key notions for this year’s tasks. In this context, we considered how these sites could become springboards for visionary and exciting architectural interventions and programmes. We asked ourselves: what is the future of the contemporary landscape? We travelled to the American Southwest in search of these mutated landscapes and constructed terrains and considered their possible futures. We visited Utah, Nevada and Arizona, where we witnessed intense case studies of these speculative landscapes exemplifying the complex dynamics between super-artificial environments and untouched natural habitats. We studied sites such as Cinder Lake, a simulated moon landscape on earth; the Bonneville salt flats, where ground speed records are consistently broken; the Yucca flats, testing site of the first nuclear bombs; and the Great Salt Lake, where infrastructure and industry have transformed ecology and physical qualities. The unit is run as a laboratory, a testing ground for experimental thinking, encouraging creative and intellectual risks in developing personal architectural agendas for the projects. We speculated on how a small architectural intervention has the potential, like a seed, to precipitate a sequential transformation of the site’s environment, reversing, accelerating or simply evolving its entropy, its genetic code. The technological blossoming of these seeds prepared the terrains for new possible activities and programmes, for building structures that redefine their genius loci.

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Fig. 5.1 Alan Ma Y3, ‘A Bitter Sweetness’. The project looks into the future of Las Vegas, investigating its imminent water crisis. With the water on site, it forms the basis of an oasis for living organisms, a new Stardust where genetic modification and biological research can happen. Experiences inside the facility will offer the people a glimpse into our genetically modified future. Fig. 5.2 Oliver Colman Y3, ‘Neverland’. A new typology of retirement home, exploring the possibilities of retaining youthfulness in old age through both a playful and practical architecture. The retirement community is based on a floating island that would sail around the surreal landscape of the Great Salt Lake in Utah. Figs. 5.3 – 5.4 Bethan Ring Y2, ‘Gila River Water Conservation Park’. An intervention on the Gila River in Arizona. As opposed to large dams creating huge

reservoirs on the rivers in Arizona, the project proposes a building which adapts to and embraces the seasonal changes of the landscape and provides fun and recreation using the least amount of water. Fig. 5.5 James Bradford Y2, ‘Farmington Bay Fishery’. The building stretches out from the reed beds at the southern tip of the Great Salt Lake, farming and harvesting the fish for its restaurant and market. Providing fresh food in an area known as a ‘food desert’, its ceilings and rooftops are used as a productive surface to hang and dry the salted fish, between which its rickety smoking chimneys rise up above the horizon.

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Fig. 5.6 Bethan Ring Y2, ‘Gila River Water Conservation Park’. Overall view of the building in the landscape. Fig. 5.7 Florence Bassa Y3, ‘Future Forest Experimental Lab’. The oldest living organism, Pando Forest, is dying. The structure of the building raises the forest as a monument to Pando and a statement of environmental awareness, while the laboratory accommodates research into environmental technology and synthetic biology. The building synthetically recreates the experience of forests for research and for visitors.

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Figs. 5.8 – 5.10 Sylwia Półtorak Y3, ‘The Great Lunar Embassy’. The building creates a dreamlike atmosphere, using the surrounding natural landscape of the lunar terrestrial analogue, Cinder Lake. With spa and fitness facilities, the building becomes a spiritual retreat. In spaced-out atmospheres, people can not only admire the moon from afar, they can almost reach it. Fig. 5.11 Ken Sheppard Y2, ‘Center for Navajo Textiles’. The sunflower fields of Project One have remediated the landscape from radiation. The fields are left growing as a legacy. The project proposes a centre for Navajo textiles, where traditional techniques of weaving, spinning and dyeing are taught by elders of the local community and the sunflowers are used to produce dyes for yarn. Fig. 5.12 York Tsing (Nerissa) Yeung Y2, ‘Super-market Landscape’.

A reinvention of the typology of a supermarket. A hybrid meeting point where food is produced, processed, stored, and where people exchange and consume food, and participate in food related events and recreational activities. Figs. 5.13 – 5.14 Masahiro Nakamura Y3, ‘Solar Expo 2015’. A building that illustrates and advertises the latest in solar technologies. Each individually pieced PV element is created from the compound Arsenic Gallium, a product of Project One, ROSA. These elements are displayed on a Roof Garden atop an ever-expanding spaceframe structure. The technologies are put through performance tests. Hopefully this intensive site of experimentation will push PV cell technology until a better alternative for a cleaner future is found.

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Fig. 5.15 Alexander Findley Y2, ‘Montezuma Well-Temple of Water’. The building forms a dialogue between the dry desert landscape at the rear and the wet, humid landscape that it creates at the front of the building down the cliff of the sacred sinkhole. The flooded chambers that visitors and the natives can stay in create a unique form of meditation where a stepping stone room has a constant, relaxing flow of water through it giving the impression of floating when sleeping. Fig. 5.16 Samuel Napleton Y2, ‘PITSTOP! Reformed restaurant for the American Motorist’. In a bid to break from the longstanding architectural language of US fast food outlets, signage and architecture are joined. ‘Living billboards’, spaced to match the deceleration of approaching automobiles, line the highway. Fig. 5.17 Yuanchu Yi Y2, ‘Retreat of Light at Lake

Powell’. A hotel located in the middle of the sublime Arizona desert. The architecture manipulates the sunlight during the daytime and accentuates the starlight at night. Visitors experience a series of therapeutic and contrasting lighting atmospheres throughout their stays. Fig. 5.18 Jack Cox Y2, ‘Salt Lake City School’. The building is an attempt to deconstruct the distinct separation between the school and its urban and environmental context, to normalise the relationship between the adult and the child and their very separate worlds. The design is based around openness, to act as a generator, a door to the social and physical landscape. Fig. 5.19 Ren Zi Goh Y3, ‘The Volcanic Sanctuary & Spa’. Plan. Fig. 5.20 York Tsing (Nerissa) Yeung Y2, ‘Super-Market Landscape’. View of the supermarket from a sububan home.

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Fig. 5.21 Oliver Colman Y3, ‘Neverland’. Perspectival section of the floating island. Fig. 5.22 Ren Zi Goh Y3, ‘The Volcanic Sanctuary & Spa’. A landmark dedicated to evoking the sacred essence, power and characteristics of a volcanic site. The sanctuary invites residents of Fillmore and Salt Lake City to escape from the everyday and embrace the energy, materiality, geology and history that is embedded within the natural landscape and imposed architectural elements and ornaments. Meditative spaces, moss/lichen/rock gardens, basalt formations and thermal baths embedded within the manipulated natural landscape allow for introspection and relaxation. Campfire sites become the site of celebration of the power and energy of the landscape.

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UG6

Hong Kong Reconsidered Christine Hawley, Paolo Zaide

Year 2 Deedee Pun Tik Chung, Judy El-Hajjar, Stefan Florescu, Ching (Jin) Kuo, Xin Hao (Jerome) Ng, Hoi Lai (Kerry) Ngan, Yuchen Pan, Yip-Wing Siu Year 3 Kamola Askarova, Grace Fletcher, Cheung Hong Ivan Hung, Lee Chew Kelemen, Yi Ki Liong, Aqsa Saleemi, Shi Qi (Kiki) Tu The Bartlett School of Architecture 2015

UG6 would like to thank our technical advisor Matt Springett and our friends and critics: Peter Bishop, Julia Ran Chen, Nick Elias, Marta Granda, Carlos Jiménez Cenamor, Jens Kandt, Jens Kongstad, Sarah Lee, CJ Lim, Yeoryia Manolopoulou, Tim Norman, Farlie Reynolds, Clyde Watson, Yutaka Yano www.unitsix.info

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Hong Kong is one of the most densely populated cities in the world and may well be a model of future urban living if current population and migratory patterns continue. Land occupation will need to be considered with great care and perhaps a minimum footprint and sacrificial lower levels will become the norm. With the consequences of digital advances having revolutionised the way we work and socialise, we now have the opportunity to speculate about the changes that might affect the way we will live and operate in the next half-century. This year, UG6 raised questions about the nature of physical location and space: will we work remotely, will there be the need for commuting, how will social organisation work, and what effect will this have on our forms of habitation? Hong Kong Island, Kowloon and the New Territories are a unique blend of historic colonial past and current Chinese culture, in some ways a microcosm of fast-paced emerging multicultural communities, and the current pressure on land utilisation has already demonstrated how unlikely patterns of function can coexist. The emphasis on the use of vertical space and Hong Kong’s space restrictions requires both ingenuity and imagination. There are currently many buildings in Hong Kong that through circumstance have brought together residential, commercial and leisure functions, and thirty-five years after its publication, Koolhaas’ Delirious New York has become an Asian reality. The utopian model of a tower containing all that is needed to maintain a community may have seemed implausible in the late 70s but this architectural conjecture has proved remarkably prescient. Gary Chang’s 24 rooms in 32 square metres will probably be a model needed in the urban compression of the future, and the notorious Chungking Mansions offers a glimpse into a lifestyle where commercial expediency has created a dystopian world of undesired residency. Both examples have emerged through circumstantial need, but the former is an imaginative design response and the latter the product of commercial exploitation. The main brief for the year challenged the unit to consider beyond the merely pragmatic – what is desirable, what levels of functionality would actually improve the quality of living in fifty years’ time, how can one measure quality in a context with so many physical restrictions. The programme offered an opportunity to consider radical models of habitation for the future where methods of travel might be airborne; places of social interaction reconsidered; and home, work and leisure environments undifferentiated. Hong Kong is vibrant and complex and many of its qualities are both critically difficult and critically inspiring.

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Fig. 6.1 Yip-Wing Siu Y2, ‘Dai Pai Democratic Press’. The Democratic Press acts as a series of public spaces that serve to provoke and inspire free, uncensored discussions on the city’s politics and social wellbeing. The library tower and archive are dedicated to democratic material and act as a celebration of knowledge accessible and embedded into the heart of city. Fig. 6.2 Cheung Hong Ivan Hung Y3, ‘Cinema of Light 2065’. This project reinterprets the city of light into three types of cinematic engagement with future Hong Kong, using natural, artificial and virtual light manipulations. Sited in the heart of Mong Kok, the proposal includes both outdoor and indoor cinema, leisure facilities such as bars, restaurants, film archival spaces and projections in various part of the building.

Fig. 6.3 – 6.4 Deedee Pun Tik Chung Y2, ‘Vertical Transparency - Gym’. A multipurpose sports complex set adjacent to the mid-level escalators in Central. Taking advantage of the site’s natural greenery, the programme acts as a getaway from the city’s fast-paced rhythm and serves as an educational facility that encourages a health-conscious lifestyle. Fig. 6.5 Hoi Lai (Kerry) Ngan Y2, ‘Shan Shui Retreat’. The ‘Shan Shui Retreat’ is dedicated to promote public health among the densely populated area of Central. The project provides generous green spaces and different water-related activities which focus on physical exercise and mental relaxation. Narrow but experiential corridor spaces create dynamic and reflective waterscapes set within the hard city fabric.

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Figs. 6.6 – 6.8 Grace Fletcher Y3, ‘Hotel’. The project aims to provide a calm sanctuary within the vibrant metropolis. The hotel caters for different transient communities offering three different types of accommodation for a one-night, one-week or one-month stay. The use of fabric as a construction material has developed an architectural language, which facilitates the controlled dialogue between the visitor and the city. Figs. 6.9 – 6.10 Xin Hao (Jerome) Ng Y2, ‘Mongkok 2065 Elderly Home’. This project explores the modular design for the independent elderly people and adjacent housing for their family members. Each unit offers multiple views of the city through the use of periscopes and movable balconies. The complex also includes gardens and facilities for eating and

leisure that open up to the wider local community. Fig. 6.11 Judy El-Hajjar Y2. To counter the depreciation of markets and natural food sales in 2065 Hong Kong, a floating market bridge will help promote a modern way of grocery shopping, just minutes from home. The project reveals an exploration of the senses. Pollution from the city below does not reach the Hong Kong market due to its high altitude. Fig. 6.12 Stefan Florescu Y2, ‘Mong Kok Bamboo Centre’. The Centre is dedicated to bamboo as an indispensable raw material that can be used across the fields of construction, gastronomy and the arts. The project is linked to an existing school to provide gardens and spaces for learning, and in addition offers public exhibition and community spaces.

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Fig. 6.13 Lee Chew Kelemen Y3, ‘Mong Kok Autonomous Bath-House’. The brief challenges Hong Kong’s current form of water management. The introduction of an urban wetland and bath act as a potential prototypes to harness water by collecting, filtering and reusing water to reduce the reliance on imported water while introducing and triggering social interaction through water-based interventions. The scheme is a celebration of the resource of water that creates an idyllic escape from the city. Figs. 6.14 – 6.15 Aqsa Saleemi Y3, ‘The Nursery Of Fortunate Clouds 2065’. The Nursery is a comment on the scarcity of potable water in the city. The building is inspired by the Chinese fairytale Sky O’Dawn, and harvests and filters the city’s humid air to collect drinking water for the

children. The children learn about the precious nature of water and learn how use it to care for their future environment. Fig. 6.16 Yi Ki Liong Y3, ‘The Central Elderly Health and Community Centre’. The project considers Hong Kong’s ageing population and how architectural requirements may shift according to these demographics. With isolation from society and the city becoming a common phenomenon amongst the elderly, the Central Elderly Health and Community Center aims to challenge the elderly person’s mental and physical limits while providing a safe, socially dynamic environment.

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Fig. 6.17 Kamola Askarova Y3, ‘Bicycle Club’. The project promotes a sustainable form of transportation for Hong Kong and incorporates a bicycle factory, repair shop, a library and virtual exhibition spaces. It aims to celebrate the efficiency of the bicycle through the theatrical display of exposed kinetic mechanical systems, which are powered by the members of the club. Fig. 6.18 Yuchen Pan Y2, ‘Live Food Museum’. The building captures three food cultures that may disappear from Hong Kong in 50 years time: Dai Pai Dong, Iceroom, and Tea Restaurant. The museum provides people with the ‘live’ experiences of learning, preparing and eating, to preserve and celebrate local traditions and family values. Fig. 6.19 Shi Qi (Kiki) Tu Y3, ‘Cardboard Residential Building 2065’. The project

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aims to address the need for sustainable models of living for socially neglected members of Hong Kong’s population. The housing model provides flexible accommodation flats with social gardening spaces. It investigates the possibilities of reusing cardboard and integrating it into the building system, by turning it into growing compost, partitioning elements and furniture. Fig. 6.20 Ching (Jin) Kuo Y2, ‘The Central Community Centre’. In response to Hong Kong’s lack of public communal space, the Community Centre offers various types of leisure activities to local residents and the wider public. The building acts as a wayfinder to other cultural facilities in the city, offering dynamic activities at street level and more quiet spaces for reading and reflection above ground.

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Neighbourhoods of Infinity: Pre- and Post-Quake San Francisco Pascal Bronner, Thomas Hillier

Year 2 Amelia Black, Hoi (Christy) Chan, Peter Feehily, Emma Jurczynski, Justin Li, Szi Wing (Viola) Poon, Andrew Riddell, Rachel Yemitan, Michelle Yiu Year 3 Pui Quan Choi, Cheng Guo, Niki-Marie Jansson, Wenya Liu, Douglas Miller, Rosa Prichard, Sarah Stone The Bartlett School of Architecture 2015

We would like to thank our technical tutor, Martin Reynolds, and our critics throughout the year: Julia Backhaus, Matthew Butcher, Ben Campkin, Mollie Claypool, Max Dewdney, Pedro Font-Alba, Christine Hawley, Colin Herperger, Jonathan Hill, Carlos Jiménez Cenamor, CJ Lim, Tim Lucas, Luke Olsen, Christopher Pierce, Frosso Pimenides, Bob Sheil, Paolo Zaide, Stamatis Zografos

UG7 continues to explore the theme of ‘Super-Specific’ architectures that are discovered through rigorously crafting drawings to a point at which the drawing itself is brought to life and seen as an actual architecture. The unit treats drawings, models and collages as real places that are used to explore spatial narratives and speculate on future building typologies. This year, using San Francisco as our base, we investigated how architecture could react and adapt to our unpredictable and volatile natural environment. According to the US Geological Department, it is predicted that between now and the year 2034 there is a 63% probability of a high magnitude earthquake striking San Francisco. As a city, San Francisco’s infrastructure is inadequately prepared to deal with an earthquake of this measure. This is soon set to change. In partnership with Silicon Valley, San Francisco’s famed technology district, the city is launching an initiative called ‘Neighbourhoods of Infinity’ to create a series of new structures that will be built to provide temporary accommodation and community spaces during the aftermath of a natural disaster. This initiative takes inspiration from engineer and 24th Mayor of San Francisco, Adolph Sutro, who designed and built a series of grand and wonderful structures across the Bay Area. One such building was the remarkable Sutro Baths, the world’s largest indoor swimming pool, which opened in 1896 and was serviced by its own rail line and the Cliff House Railroad. Sutro transformed his own estate into elaborate public gardens that were filled with statues, forests and breathtaking vistas. Gateway to a Neighbourhood Before we set foot on San Franciscan soil, the unit’s journey began, like Sutro’s, with a gateway. What this meant was entirely open for speculation. Using a researched character from San Francisco’s past, present or future, the students spent the first part of the year designing this gateway as a portal into a much larger public building which they would continue to develop across the year, helping form a new neighbourhood of infinity. Neighbourhood of Infinity Had Sutro known of an imminent threat to the city that he loved and governed he would have not looked on idly. He would have masterminded, designed and built an infrastructure that would have helped combat any impending natural disaster. By anticipating and planning for an imminent catastrophe, the students explored a series of architectures, designed with a dual programme in mind. The first is for a new building of public interest and exaltation; the second allows the building to be reconfigured or transformed into temporary neighbourhoods for a post-disaster San Francisco. We put it upon the students to become 21th century Sutros: visionary, eccentric and above all, brave!

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Fig. 7.1 Niki-Marie Jansson Y3, ‘The Archive of the Long Now’. Embracing fragility and entropy within building construction, this 300 metre-high time capsule curates, restores and preserves information in its most analogue form: printed media. In constant use for 150 years and then left as a monument, the building is conditioned to deteriorate over the course of 5000 years, until its content is revealed in the year 7045. Fig. 7.2 Andrew Riddell Y2, ‘The Cast Courts of Alcatraz’. Had the Treaty of Fort Laramie been upheld, Alcatraz Island would be under the custody of the Native American community. The project posits an architecture that exists through the destruction of the existing prison infrastructure. The building becomes an archive of demolished fragments which physically form the new architecture, preserving the now-lost prisons.

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Fig. 7.3 Emma Jurczynski Y2, ‘The Hunters Point Project’. Hunters Point, known as the radioactive basement of San Francisco is transformed into an architecture that aims to create a renewed sense of community and healthy wellbeing. The building and surrounding landscape grows healthy food for local citizens and propagates plants in preparation to phytoremediate the toxic landscape. Fig. 7.4 Rosa Prichard Y3, ‘The Golden Gate Flood Fort’. An inhabited flood defence wall surrounds Treasure Island, housing those displaced by the rising sea levels in San Francisco Bay. The island becomes a self-sustaining system, where the process of natural water purification is articulated through the architecture, creating a spectacle that encourages the flood refugees to develop a new, positive relationship with water.

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the timber stakes used to grow oysters creating a series of pavilion-like structures hung in the air. Fig. 7.8 Szi Wing (Viola) Poon Y2, ‘The Broadway Tunnel Float Workshop’. Over the course of a year, an ever-changing group of artists and makers design and construct a new float paying homage to the famous Burning Man Festival, whose origins began in San Francisco. Fig. 7.9 Pui Quan Choi Y3, ‘The Terracotta Guild of San Francisco’. The Guild exists to ensure the continued preservation of San Francisco’s unique architectural identity through the testing and production of architectural terracotta. The building investigates the relationship between technology and craft, providing a platform for material testing and experimentation, turning the building itself into a crafted landscape of terracotta.

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Fig. 7.5 Michelle Yiu Y2, ‘The Thanksgiving Palace’. Embodying one of America’s favourite holidays, the Thanksgiving Palace is a self-sustaining free-range turkey farm and restaurant. This feather-clad monument is drenched in the smell of roasted turkeys and maple syrup. Fig. 7.6 Wenya Liu Y3, ‘The Angel Island Safe House’. Angel Island, sited north of San Francisco, has been uniquely insusceptible to all previous earthquakes in California. This dual-programme building houses an earthquake response training centre and cannery which produces emergency food rations in preparation for San Francisco’s next earthquake. Fig. 7.7 Justin Li Y2, ‘The Crissy Field Oyster Retreat’. This hybrid-building programme exploits both the culinary and medicinal properties of stake-grown oysters. The architecture forms a symbiotic relationship with

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Fig. 7.10 Amelia Black Y2, ‘The Ministry of Information’. Set in the heart of San Francisco’s Civic Center, The Ministry of Information manipulates strange devices to collate, examine and analyse the surrounding city pollutants. The Ministry stores this information in the hope that over time it will collect enough data to create a case of environmental degradation against the citizens of San Francisco. Fig. 7.11 Peter Feehily Y2, ‘The Thousand Man Hackers Commune’. Sat within the decaying remains of a post-war barrack lies a covert hacking community and fibreoptic cable manufacturer. Feeding off its sandy geology, hackers produce fibre optic cables to help them conduct their illegal activities. These cables are spun around the building and surrounding landscape creating a mirage of glass-like tendrils which help camouflage the building.

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Fig. 7.12 Hoi (Christy) Chan Y2, ‘Ten Ren’s New Tea Palace’. Situated across the length of an entire block within the heart of San Francisco’s Chinatown, this new tea palace hangs, like Chinese lanterns, from the surrounding buildings. A series of tea pavilions create an undulating canopy that celebrates the act of tea drinking. Fig. 7.13 Rachel Yemitan Y2, ‘The Mid-Autumn Temple’. Carved into the streets of Chinatown and surrounded by a series of Potemkin façades, the building uses the mid-Autumn festival as a symbol of celebration to marry the neighbouring communities. The temple is centered around the production of the mooncake, whose ingredients are grown within the surrounding stepped landscape, whilst water sits on top of the temple, reflecting the moon down across all who enter.

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Fig. 7.14 Sarah Stone Y3, ‘The Incremental Construction of the New Sutro Baths’. Sited on the ruins of a Victorian bath house, traditionally a place to lavish in vast quantities of water, the project proposes a new typology of bath house serving to highlight the importance of water in the midst of California’s drought. Using the sporadic remnants of water from a local spring, the building gradually evolves constantly tracing the ebb and flow of this temperamental resource. Figs. 7.15 – 7.16 Cheng Guo Y3, ‘The Bohemian Grove Retreat’. Each year, the towering redwood forests north of San Francisco play host to some of the most powerful men in the world, collectively known as the Bohemian Club. The project offers an architecture shrouded in mystery where metal corsets and other adaptations physically manipulate the surrounding trees.

Figs. 7.17 – 7.18 Douglas Miller Y3, ‘The San Francisco Columbarium’. The project posits a compromise between the preservation of architectural heritage and the inevitable growth and expansion of one of America’s fastest-growing cities. Located on the fringe of San Francisco’s proposed future wave of expansion, Alamo Square Park, characterised by its American-Victorian architecture, is transformed into a columbarium of architectural restoration. The existing parkland is preserved but reconfigured to hold subterranean museum halls that are slowly filled with houses of historic merit, saved from the city’s growing expansion. Vacated plots plucked from this expanding Ecumenopolis form invaluable low-rise community squares, creating small green spaces that infiltrate what will soon become a vast and grey metropolis.

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UG8

Shifting Scales Rhys Cannon, Colin Herperger

Year 2 Conor Clarke, Samuel Davies, Sarah May-Lee Hollis, Ana-Maria Ilusca, Daniel Little, Afrodite Moustroufi, Joanna Rzewuska, Yehan Zheng

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Year 3 Boon Yik Chung, Patrick (Patch) Dobson Perez, Nikolas Kourtis, Sonia Magdziarz, Zi (Kevin) Meng, Emilio Sullivan, Yu Xuan (Nicole) Teh, Ernest Zhi Heng Wang Thanks to Scott Batty, our technical tutor. Thank you to our critics: Benni Allen, Laura Allen, Tom Budd, Matthew Butcher, Mollie Claypool, Scott Grady, Penelope Haralambidou, Christine Hawley, Ben Hayes, Johan Hybschmann, Mara Kanthak Simon Kennedy, James Llewellyn, Luke Lupton, Tim Murray, Jack Newton, Ollie Palmer, Ralph Parker, Thomas Pearce, Bob Sheil, Eva Sopeoglou, Matt Springett, Tomas Stokke, Greg Storrar

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The principle of scale and the units that define it are critical within the world we live and the one we explore. Composition, proportion and scale are ever-present companions to the practising architect. They should be respected and understood in equal measure, the scale rule never more than an arm’s reach from the drawing board. UG8 is interested in works of architecture that have the ability to engage, bewilder and amuse in equal measure – enduring, immediate, empathetic, emotional responses, but always creating the possibility for a reality shift and a sense of sitting on the edge of fantasy. It is this fantastical element we sought to encourage and nurture through the architecture developed during the year. UG8 visited the ‘Space Coast’ – Cape Canaveral, USA, in order to appreciate a sense of scale first-hand. NASA’s vast space launch campus can be difficult to express in numbers – it encompasses the world’s tallest single-storey building, the Vehicle Assembly Building. The building’s internal volume is so large that it is reputedly able to generate its own internal weather system, with observations of rain clouds forming on humid days. Although opposite extremes exist too: NASA’s behemoth Crawler-Transporter may have a load capacity of 8,200 tonnes but shuffles along at a sedentary 1mph. In an environment where ‘the sky’ is actually no longer ‘the limit’ it can be difficult to attribute limitations and parameters to our thinking of inhabiting volume and making spatial constructs – all of which we need, as designers, to work within and against. The site of Cape Canaveral has become host to the emergence of a new architecture. It is one that holds many examples of developing ideas and technology. The unit’s building projects are distributed along the coast, utilising long-since abandoned launch pads; the port of Cape Canaveral; fishing piers for watching rocket launches and further outposts dotted along the Keys at the very southern tip of Florida. Within UG8, attention is focused upon creative exploration through architectural invention. This is developed and nurtured by means of a range of making, thinking, and drawing. We consider architecture too complicated to be resolved simply through logic or good ideas alone, therefore the studio values work that is intuitive, inventive, and takes risks.

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Fig. 8.1 Sonia Magdziarz Y3, ‘Bahia Honda Summer Camp’. The main challenge posed by the site is the constantly shifting weather conditions. The project investigates ways of creating an architecture that contradicts the tradition of designing a hurricane-proof building as a fixed structure on land. The building suspended form the bridge above the water, undergoes transformations in line with the dynamics of the weather. Experiences are provided by the openings, closings and shifting of the elements, which correspond as much to changing weather as activities. Importantly, rain and light play a fundamental role, being architecturally harnessed to serve as signs for the kids to follow. Interaction with a building becomes almost a hide and seek game between kids and the weather. Figs. 8.2 – 8.5 Patrick Dobson Perez Y3, ‘Launch

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Complex 34’ Located in the middle of a stretch of abandoned NASA launch sites from the glorious age of space travel. The building memorialises the Apollo I disaster in which three astronauts burned to death on this launch pad. This architectural investigation aims to preserve the memory of the astronauts on that fateful day by creating a relationship between solid and void; between substance and memory. Visitors undertake a vertical ‘pilgrimage’ up the voided tower, simulating the experience of an astronaut entering the insular world of the command module before departing Earth. The tower is constructed through a bespoke jump-forming device which is able to reconfigure to the form of each cross-section of the tower with the device left as an inhabitable space at the summit of the tower and becoming a ‘relic of progress’.

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Fig. 8.6 Zhi Heng Ernest Wang Y3, ‘Port Canaveral Drive-in’. A complex which embodies the hallmarks of American car culture. The programme incorporates various elements, such as the drive-in cinema, the American diner and the motel in a single facility, which also functions as a viewing space for rocket launches. Being located at the tip of Port Canaveral’s Pier, the site is in a prime location and the layout of parking bays and motel cabins were carefully for the viewing of rocket launches and the sunrise. Aspects of automobiles, such as panel contours, chassis and suspension informed the overall design aesthetic. Fig. 8.7 Yu Xuan (Nicole) Teh Y3, ‘The Little Prince Production Studio and Visitor Centre’. The Little Prince Studio was a proposal for a daylight film studio by Sarasota Lane, along the main street of Cape Canaveral to house the

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film production of a children’s story, The Little Prince. The building was a study of the filming process and production, focusing on the study of lighting in films. Fig. 8.8 Sarah May Lee Hollis, Conor Clarke, Samuel Davies Y2, ‘Peter Pan South Kensington Townhouse’. Figs. 8.9 – 8.10 Samuel Davies Y2 ‘A House for Multigenerational Living’. A Multigenerational House perched at the mouth of Port Canaveral, the house has aspect towards the NASA Launch site. The project considers NASA rocket launches as a propagation point for memory, and explores how architecture of the home acts as a parallel generator of shared stories and domestic memory. The house is appropriated with each generation; childhood jetties are washed away, and prefabricated dining tables removed to leave scars and traces of occupation.

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Figs. 8.11 – 8.12 Emilio Sullivan Y3, ‘The Shrimp Road Fish Emporium’. The Florida Keys have been infamous for their laissez-faire attitude; the lesser-known fact is that The Keys have long been seen as the Mecca of sport fishing. This emporium creates a new sports fishing hub for all things fishing- and food- related and in a new home on Stock Key. Local vernaculars utilise passive systems to help minimise the effects of the oppressive Floridian heat and humidity. A developed study through the Cracker-style heavy shaded typology, the development of the Spanish Eclectic style and the Key West archetype allowed the materiality and composition of the project to arise and thus create a building that combines the theatre of the fishing with the pastiche cherry picking of a Disneyland-esque architecture.

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Figs. 8.13 – 8.14 Nikolas Kourtis Y3, ‘CCAFS Camping Hostel’. Through the incorporation of lightweight, tensile and inflatable structures, along with further investigation of climbing equipment and techniques, the hostel not only provides a unique experience where the inhabitants are immersed in the environmentally protected site without ever coming into contact with the ground themselves, but also provides opportunities for a relationship between architectural space and inhabitation. This dialogue enriches the experience of the occupants within the hostel as it establishes a negotiation between not only the occupants themselves but also between the occupants and the building; through inhabitation they mould and reform the architectural space.

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Canaveral’. This project employs a lack of distinction between surfaces to encourage unexpected interactions between the body and the building. The bath house at once exposes and uncovers, like a partially removed garment. Fig. 8.18 Yehan Zheng Y2, ‘Port Canaveral Wreck Diving Training Resort’. This project attempts to translate the senses of the varying elements of scuba diving into spatial experience. Being situated near wrecks scattered around the region, the facility acts as a training base for wreck divers before setting out exploring. Divers go through extremes of wet and dry, dark and bright, social and private, high and low, compressed and decompressed. The building is thus part impression, part real application. The aim is to capture all elements of the process and fully prepare you for the many facets of deep sea diving.

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Fig. 8.15 Afrodite Moustroufi Y2, ‘The Camera School’. The Camera School explores the possibility of a building to become a machine for looking. Located in the centre of various subjects likely to trigger the photographic interest of the visitor, such as rocket launches, marine life, and extreme weather conditions, it features elements and spaces that are architectural translations, both direct and subtle, of camera components or composition techniques. As a result, navigating around the building and learning to use its elements, one learns and discovers photography and its principles. Fig. 8.16 Joanna Rzewuska Y2, ‘The Monastry of Casting’. Playing with the forms of casting and reference from the surrounding beaches the monastry reflects the context through expression in concrete. Fig. 8.17 Conor Clarke Y2, ‘A Bath House for Cape

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Figs. 8.19 – Fig. 8.20 Zi (Kevin) Meng Y3, ‘Cocoa Beach Event viewpoint in investigating dollhouses, as a fertile design tool Centre’. This project envisions a new suburban civic centre for children’s unending creations and hopes to revive our typology with a core of a library that is highly responsive to the fascination with space. ever-changing seasonal cyclical fluctuation of population in the City of Cocoa Beach. Two sliding transformable sheds along the linear square will adapt the requirements of the activities and events. As the predictable near future of American suburbia is marching towards a denser connective tissue, this building has the ambition of rejuvenating this seaside suburban city by establishing a new city centre. Fig. 8.21 Boon Yik Chung Y3, ‘Learning from Dollhouses ’. The project is an inquiry into the notion of miniature architecture and a spatial narrative. It revisits childhood and asks: why do we lose imagination about space as we grow up? It takes a nostalgic

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Figs. 8.22 – 8.23 Boon Yik Chung Y3, ‘Space as the Third Teacher’. The project takes a philosophical and theoretical path in searching for an alternative classroom typology. Inspired by Alain de Botton’s writing on how architecture has the capability to interact with our senses and minds, the project investigates the idea of making classroom a ‘teacher’ – it ‘speaks to’ and even ‘teaches’ the children – by introducing into the architecture the notions of ambiguity, abstractness and open-endedness.

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UG9

Skilled Contrivance in the Age of Technological Abundance Jessica In, Chee-Kit Lai

Year 2 Yan Ho (Brian) Cheung, Jooyoung Cho, Lucca Ferrarese, Andrew Jack Leather, Adam Moqrane, Achilleas Papakyriakou, Sophie Percival, Soma Sato, Isaac Simpson, Nihal Tamang, Matthew Taylor, Tze-Chuan (Roger) Tung Year 3 Douglas Croll, Jaemin Kim, George Proud The Bartlett School of Architecture 2015

UG9 continues to work with ongoing collaborator Arup Associates for Year 3 Technical Dissertations. Special thanks to Mick Brundle and James Ward. Unit 9 also continues an ongoing collaboration with Denis Vlieghe who runs a Physical Computing Workshop as part of Project 1 Special thanks to: Abi Abdolwahabi, Alessandro Ayuso, Scott Batty, Matthew Butcher, Mollie Claypool, Nat Chard, Marjan Colletti, Kate Davies, Murray Fraser, Stephen Gage, Manuel Jimenez Garcia, Evan Greenberg, Penelope Haralambidou, Jonathan Hill, Bill Hodgson, Carlos Jiménez Cenamor, Jan Kattein, Julia King, Justin C. K. Lau, Guan Lee, Lawrence Lek, CJ Lim, Yeoryia Manolopoulou, Claudia Orsetti, Sophia Psarra, Alisdair Russell, Sara Shafiei, Bob Sheil, Donald Shillingburg, Giles Smith, Michael Tite, Manijeh Verghese, Victoria Watson, Peter Webb

Images, in the very act of showing, always hide the reality which they are supposed to show. 1 Vilém Flusser’s philosophy on the technology of photography understood it to be not a faithful representation of reality, but rather, a cultural technique through which reality is constituted and understood. While his ideas are written in the context of photography and the news media of the 1970s and 80s, his vocabulary has proven influential for thinking about contemporary digital media technologies and their online uses. His essays highlight a critical and philosophical need to understand the media culture and its emergent possibilities and threats in an increasingly technical and automated world. As architects operating in the age of technological abundance, we are curious about how imagination, technology and human desire are understood in the ‘digital age’ beyond the insistence of continuous reality being reduced into discrete binary units. The contrasting title – of binary technological and infinite abundance, and the skill required to wrestle them creatively – acknowledges that as technological development binds us to a set of infinitely evolving rules, the question of how we come to understand what is valuable in our environment is key to the development of the nature of our apparatus; how we view the world through our devices and architecture. In acknowledging that technology has always informed the way in which architects work, we are interested in the how computation, fabrication and physical computing tools inform our spatial and interactive narrative of architecture. Tokyo is famed for its unique urban mix of creativity, consumption, technology and tradition. What better place to explore a grand-scale technological spectacle, which seamlessly spans virtual and physical domains? This year the building proposals aim to identify and address culturally specific relationships that affect our infinitely connected, technologically abundant world, sited in a dimension of Tokyo between permanence and temporal, reality and hyper-real, virtual and physical. This year we visited University of Tokyo DFL, Atelier Bow-Wow and SANAA in Tokyo, Japan.

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1 Vilém Flusser Lectures: We Shall Survive in the Memory of Others (2010) Buchhandlung Walther Konig GmbH + Co 130

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Fig. 9.1 Achilleas Papakyriakou Y2, ‘Turn Me On’. Interactive prosthesis. The wearable device is inspired by Tokyo’s sex and fashion subcultures. The device consists of interactive touch pads for the voyeur, which in turn activates valves located at sensitive points across the wearer’s body. Certain valves are programmed to release soft puffs of air whilst others release frosts, thereby giving the wearer fluctuating sensations of pain and pleasure. Fig. 9.2 Matthew Taylor Y2, ‘Interactive Dating’. Interactive device. There are currently around 5.5 million vending machines in Japan, the majority of these are situated within Tokyo with a ratio of 1 to every 23 people. This project explores the vending machine – a machine that traditionally requires no social interaction – as a device for dating interaction. Taking inspiration from the stages of

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Japanese tea ceremony, the table takes daters through seven stages, celebrating the completion of each. Stages 1 and 2, sitting and acceptance, release the metronome and the date begins. Stages 3-5, meeting for a drink: a teapot is placed on a pressure mat, when lifted a chime will begin to ring. Stages 6 and 7: if the dates touch, skin contact through the table and hands completes the current, which converts to a buildup of sound, an aural mark of the daters’ compatibility. Fig. 9.3 Yan Ho Cheung Y2, ‘Bowing Door’. Interactive prototype. This project explores the cultural differences in the Japanese understanding of gates and thresholds, prompted by an observation that the ticket gates on the Tokyo subway are by default open, closing shut only when an invalid ticket is presented. The idea is to implement the bow, a Japanese

ephemeral quality within architecture to be captured. The device provides a spectacle of water that is driven by live human data captured by the Kinect/Arduino. Fig. 9.5 Andrew Jack Leather Y2, ‘Natural Disaster Landscapes’. Simulation device. Taking inspiration from the phrase ‘storm in a teacup’, Jack looks at capturing the essence of Japan’s natural disasters within a series of ‘picture frames’, much like snow-globes. Frame 1 recreates a miniature flood; frame 2 recreates tidal waves through reverse liquefaction; frame 3 recreates mini storm surges and earthquakes.

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gesture of social opening, to the character of the device. To open the door, one must bow first before the door bows back, indicating a sense of mutual respect. As the bowing door moves aside, another set of double doors open as if to invite approach, only to playfully close. Fig. 9.4 Adam Moqrane Y2, ‘The Fountain of Human Solidity’. Fluid dynamics installation. This project explores the socioeconomic theme of population density in an interactive and hyper-real spectacle which uses live human data to reflect a continually changing condition of the urban fabric. Initial research revolved primarily around population density in Tokyo and its resulting architectural outcomes of control. Mounting the device onto a façade with manipulated suction cups allowed the device to be transported to different sites, where each setting allows a hyper-real and

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Figs. 9.6 – 9.7 George Proud Y3, ‘Secret 3D Tinder Vending Machine’. Virtual reality 3D model for Oculus rift and stereoscopic device. George’s latest edition of Tinder for Tokyo allows potential daters to upload 3D profiles at home via a webcam and a special app. The secret vending machines are located across Tokyo’s tight forgotten spaces marked on the pavement with interactive symbols. Users bow at this point to reveal a digital Torii (traditional gates to Shinto shrines) to enter the machine, which allows them to ‘check out’ potential dating profiles three dimensionally. Fig. 9.8 Yan Ho Cheung Y2, ‘Robots’. Exploded isometric drawing. Situated in Akihabara ‘electric town’ in the near future when robotic technology has matured and consumer robots within the household have become the norm. Reviving the electronic conglomerates of

Japan through its celebration of consumer robotics, the showroom houses a repair, research and development centre, providing the ageing population and their robots with aid and comfort. Fig. 9.9 Sophie Percival Y2, ‘Odaiba Digital Landscape’. Model with light/digital choreography. Sophie imagines a near distant future in which global warming has caused the famous Japanese cherry blossom trees to skip spring season altogether. The park is a nursery as well as a memorial to digitise the spring season, which is deep in tradition and attracts a vast number of tourists annually to catch a rare glimpse of the ephemeral spectacle. Other activities include glow-in-the-dark sprinklers, hologram cherry blossom, growing fog trees, cooling joggers’ track, laser fences and security drones.

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Figs. 9.10 – 9.12 Isaac Simpson, Y2, ‘Engawa Transition’. Laser-cut concrete block drawings, orthogonal plan drawing, section-iso drawings. The project proposes to plant a seed of Japan’s fading traditional culture into the fast, ever-changing robot-like system that Tokyo possesses today. The architecture houses three main elements: the skin – an architecture that provides protection from detractors, wars and other outside influences proved to be a great destroyer to Japanese traditional culture; the memory – an archive for Japan’s arts, both new and old, also functioning as a public museum and library; and the heart - the practice and teaching of calligraphy (shodo). Offering a place for people to learn calligraphy and perform in, it gives the local people access to master calligraphers teaching and showcasing their shodo.

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Fig. 9.13 Douglas Croll Y3, ‘Tailored Odds: A Future Proposition for the Gambling Culture of Japan’. Interactive gaming device. Investigating the idea of spatial negotiation through gambling, this conceptual model is designed to be operated by four players and a dealer. Drawing inspiration from Japanese pachinko, the game incorporates the concepts of control, negotiation, skill, chance, tension, secrecy, and competition. The dealer at the head of the table feeds the balls from above, whilst kneeling players turn their handles to control the tensile skin overhead, attempting to win as many balls as possible. The trick lies in that each player’s handle controls the mechanisms of a different player, and so the assumed control each player believes to have is false and compromised. Figs. 9.14 – 9.16 Douglas Croll Y3, ‘Keeping Afloat: Casino for Odaiba Island’.

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Perspective drawings printed onto polyester film for lightbox effect. Situated in a waterfront park to the north-western corner of Odaiba, this casino challenges traditional methods in its manipulation and influence of its occupants through continual spatial disorientation. Traditionally achieved though labyrinthine floorplans and limiting the depth of vision, here the casino renders oblivious disorientation through moving elements of the building in a controlled and deliberate manner. The surrounding context of the gamers is in a constant state of change through the use of water to elevate and float the outdoor gambling spaces, minimising mass, friction, and energy required for subtlety spatial manipulation. The movement of certain spaces also creates temporary access to areas of the building only at precise points throughout the day,

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further enhancing this concept of disorientation. One may find themselves in a space from which they cannot take the same route back.

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UG10

The Nature of Digital Structure Guan Lee, Peter Webb

Year 2 Linzi Ai, Wang Chan (Vincent) Fung, Hilda Hiong, Maria Alessia Junco, Cheuk Wang (Chaplin) Ko, Xiao Ma, Olufunto Thompson, Yinong Zhang Year 3 William Bellamy, Paalan Lakhani, Kin Lam (Glynnis) Lui, Anastasia-Cristina Stan

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Thanks to our technical tutors Yannis Halkiopoulos, Jessie Lee and Callum Perry, and to our critics: Aditya Aachi, Robert Aish, Scott Batty, Matthew Butcher, Nat Chard, Mollie Claypool, Graham Dodd, Edward Farndale, Andrew Fortune, Murray Fraser, Alexis Harrison, Satoshi Isono, Chee-Kit Lai, Tim Lucas, Arthur Mamou-Mani, Yeoryia Manolopoulou, Emma-Kate Mathews, George Scott, David Shanks, Bob Sheil, Nina Tabink, Ivana Wingham Special thanks to Sanbao Ceramic Art Institute We are grateful to our sponsor, Grymsdyke Farm

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Computer-aided design and manufacturing (CAD/CAM) have provided opportunities for rethinking of design in construction. Digitally controlled building technology and material research, at various scales together, have opened up new rules for structures. This is not to say that the laws of physics cease to apply and historical considerations for architecture do not hold the same significance, but their weight and priorities in design have shifted. Architects are now required to learn new skills and be literate in binary codes of computer language, as well as in changes that the digital media has brought about in social and cultural environments. Digital designs conceived on our computer screens are weightless and without the grain of material structures. The translation of these designs from code into architecture requires not merely the mastering of digitally controlled tools, but also material experimentation, the synthesis of mathematical and empirical knowledge and an understanding of the site. We started the year with the students designing bridge structures, with the main purpose of connecting two places. At this stage, the projects explored ideas of naked structures, especially in the sense of their natural ability for lateral spans or cantilevers. Students identified sites in Greater Metropolitan London, spanning a street or any physical divide. We encouraged the exploration of how to span a gap and traverse the boundaries of traditional construction to create a physical and cultural connection. Students developed their designs through making, with consultations from engineers at Ove Arup. Our fieldtrip started in Shanghai, one of the fastest growing cities in the world. We then travelled west, towards Jingdezhen. From Chinaâ&#x20AC;&#x2122;s main economic hub, we ventured to an economy more than 2000 years old, founded on the local porcelain, which is naturally superior in quality. Students witnessed historic ceramic practices in local factories still thriving today; unfortunately due to political and economical forces, others have disappeared or are in danger of shutting down. We stayed at Sanbao Ceramic Art Institute, occupying a recently abandoned village. In Sanboa, we learnt hands-on this ancient art through working with the material, and witnessing at first-hand the local craftsmen at work. We encouraged students to examine the relationship between material craft and technology through direct engagement with making. Taking inspiration from communitiesâ&#x20AC;&#x2122; traditional manufacturing techniques, we asked the students to develop architectural strategies for new economies in rural parts of China or an intervention within the metropolis of Shanghai, rooted in the idea that material used with digitally controlled tools still has intimate links to culture and place.

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Fig. 10.1 Cheuk Wang (Chaplin) Ko Y2, ‘Centre for Creative Collaboration in King’s Cross’. Taking apart a slip cast. Plaster absorbs moisture from the clay allowing a natural separation from the mould without any demoulding agent. But, this delicate process requires extreme care as the clay slip is still relatively soft. Fig. 10.2 Olofunto Thompson Y2, ‘Sanbao Ceramic School’. This shows a single unit that constructs a column within the building. The plaster unit was digitally fabricated with iterations developed by designing the negative space surrounding the column, forming the mould. The perforations in the column allow for a light weight patterned form inspired by Chinese Koi fish: a symbol of success and good fortune, while maintaining structural strength. Fig. 10.3 William Bellamy Y3, ‘The Three Treasures’,

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slip cast wall units. Fig. 10.4 Cheuk Wang (Chaplin) Ko Y2, ‘Centre for Creative Collaboration in King’s Cross’. Close-up detail of assembled plaster moulds. A traditional slip cast mould produced through digital fabrication techniques.

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Figs. 10.5 – 10.7 William Bellamy Y3, ‘The Three Treasures’. This section through the building is entitled ‘Sitting on the Mountain’. The design of the vegetarian restaurant opens on to the river and leads into the mountains encouraging visitors to relate to China’s heritage of referencing the landscape. A system was developed in which paper clay, at 0.5mm thick, could be controlled and shaped so as to work with bamboo to create a screen. This would encourage occupants to relate to the natural surroundings and in some parts of the building reveal elements of the work to visitors. These slip-casts were designed to understand how contemporary forms of technology could be used to enhance this process and to apply their aesthetic to architecture. A number of prototypes were created, so as to understand how thin the walls of the design

could be and how different textures and glazing could be used for particular aesthetic requirements within the building. Figs. 10.8 – 10.9 Kin Lam (Glynnis) Lui Y3, ‘Rare Plant’. This project focuses on the cultivation of local species of rare plants for production of Chinese herbal medicine. Rare Plant comprises a glasshouse, a workshop and a covered bridge. Bamboo and glass are introduced as construction materials not only to compliment Yoali’s traditional bricks but also to signal the regeneration and the evolution of this historic town.

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Fig. 10.10 Cheuk Wang (Chaplin) Ko Y3, ‘Centre for Creative Collaboration in King’s Cross’. A terracotta slip cast model that is used as tessellated units in a building, emphasising the relationship between negative and positive space. The model has been through a few design iterations, which was driven by the limits of slip casting process and the framework of a rhombic dodecahedron. This gives a three dimensional tessellation allowing more flexibility and different arrangement. Fig. 10.11 Olufunto Thompson Y2, ‘Sanbao Ceramic School’, details of mould for column. Fig.10.12 Hilda Hiong Y2, ‘Fish Market Restaurant in Shanghai’. Galvanised steel hexagon modules are tessellated, functioning as part of the roof of the fish restaurant that controls lighting. Forms are inspired by fish scales to which the design developed from a

square grid with fixed modules to a hexagon grid with movable modules. Figs. 10.13 – 10.14 Linzi Ai Y2, ‘Traditional Chinese Clothing Museum’. The building is a metaphor for the relationship between cultural revolution and the hidden clothing culture behind such as Qipao that was banned during that time. Section showing the concept that this building is designed as loom and the relationship between the timber frame and fabric element. Figs. 10.15 – 10.16 Linzi Ai Y2, ‘Pressed Felt Module’. These felt panes form a series of movable hanging screen walls to create exhibition spaces. The pattern is inspired by the button on a qipao dress.

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Figs. 10.17 – 10.18 Yinong Zhang Y2, ‘Traditional Chinese Breakfast Restaurant and Cooking School’. This project focuses on bringing the traditional Chinese breakfast back to the modern busy life of city dwellers. The timber framed building comprises a breakfast restaurant and a cooking school. The cladding is set up with clay models and a layer of glass. The building is constructed on a narrow pedestrian street between existing buildings. The initial clay models idea comes from the structure of Youtiao (fried dough sticks), a well-known traditional Chinese breakfast. It is made of clay and recycled grains from China. Grains are mixed with clay, and after the models are fired in a kiln, the grains disappear. Fig. 10.19 Paalan Lakhani Y3, ‘The Museum of Disaster and Repair’. This museum is a response to the potential formation of a sinkhole

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in Shanghai, the city has suffered from land subsidence since the 1920s. Through using digital technology and analogue methods, the base of the building is cast as tribute to the sinkhole form, whilst allowing the fractured road to continue its use. It is inspired by the philosophy of Kintsugi artwork which looks at repairing broken ceramic ware, giving the object greater beauty and another life. Figs. 10.20 – 10.21 Maria Alessia Junco Y2, ‘Homes Forever’. A Towering Parabolic Residency for Shanghai’s ever-increasing elderly population. The 1:1 glued laminated timber joint explores the point of intersection where the external paraboloid timber gridshell beams meet.

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BSc Architectural & Interdisciplinary Studies Elizabeth Dow, Lucy Leonard, Barbara Penner

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Architectural culture has never been exclusively the product of architects, but now, more than ever, there are many other people working in related fields (film, media, curation, design and creative practice) who shape debates and ideas around architecture in significant ways. In bringing together architectural research and design and creative practice courses, BSc AIS aims to produce the development of independent-minded graduates who are equipped to participate in these complex debates. This unique programme that allows students to follow modules within The Bartlett as well as with modules in other UCL departments. It builds on the successful BSc Architectural Studies programme, which ran between 2002-2012 and produced over 110 graduates. Graduates have gone on to postgraduate studies and professional careers in a wide variety of fields including: journalism, landscape design, lighting design, international development, fine art, photography, printmaking, arts education and management, events management, urban planning, law, accounting, property valuation, and construction management. They have pursued graduate studies at universities such as the Royal College of Art, Central St. Martinâ&#x20AC;&#x2122;s, Imperial College, London School of Economics and ETH in Zurich, as well as at UCL. The great strength of the BSc AIS programme is its interdisciplinarity: students are able to tailor their own course of study to suit their particular interests and future study and career plans. The course suits highly motivated, independent students who are interested in architecture, design, and urban studies, but who also wish to take advantage of electives on offer elsewhere in UCL. Popular choices are History of Art, Management, Languages, Economics, Psychology, History, Mathematics, Anthropology, Law, Archaeology, and Geography. There are three specially tailored course modules for BSc AIS students within The Bartlett: Architectural Research, Dissertation, and Design and Creative Practice (Project X), samples of which are reproduced on the following pages.

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The Dissertation in Architectural & Interdisciplinary Studies enables students to undertake an independent research project of 10,000 words. The emphasis in this course is on conducting original research and producing an investigative in-depth written piece, supported by appropriate visual and textual documentation. This module is taught through individual and small group tutorials, supplemented by occasional seminars and group meetings. The aims of the module are to enable students to conduct primary research, to think critically about issues with architectural implications, to develop and showcase practical writing skills, and to think creatively in terms of the overall design layout and composition. This year, peer feedback played a key role.

1 Mary Douglas, Purity and Danger: An Analysis of the Concepts of Pollution and Taboo (1966). London: Routledge and Kegan Paul 2 Anon, The Economist, 5 March 1976 3 HRH The Prince of Wales, The 150th anniversary of the Royal Institute of British Architects (RIBA) Royal Gala Evening at Hampton Court Palace, 30 May 1984

Dirt is essentially disorder. There is no such thing as absolute dirt: it exists in the eye of the beholder. If we shun dirt, it is not because of craven fear, still less dread or holy terror. Nor do our ideas about disease account for the range of our behaviour in cleaning or avoiding dirt. Dirt offends against order.1 This dissertation aims to complement anthropologist Mary Douglas’s text Purity and Danger and its ideas of dirt and culture in the context of residue left over in the natural state of weathering. Douglas essentially writes about cleanliness and pollution, and also how cultures and people are often obsessed with order and control. In the context of architecture, we could build on the views Douglas puts forward in exploring the state of weathering and the deposits left over, such as dirt, grime and plant growth, which result in promoting disorder and defilement in society. The essay argues that the Brutalist concrete buildings of the Southbank Centre can be viewed as aesthetically pleasing, now that they have weathered and have accumulated dirt over time. Often associated with the Brutalist movement, the three buildings chosen as case studies in exploring weathering are The Queen Elizabeth Hall (Higgs and Hill, 1967), The National Theatre (Sir Denys Lasdun, 1976) and the Hayward Gallery (Hubert Bennett/Jack White, 1968). All are historically significant and the complex is the largest collection of artistic venues in London. These three buildings are aesthetically pleasing through their construction of bold geometry and structure of exterior hills and interior caves, which creates their own landscape. When it was unveiled in the 1970s the drastic architecture of the Southbank was not without controversy. In March 1976 The Economist described it as having a ‘strongly militaristic flavour’ 2 and famously HRH the Prince of Wales described the National Theatre as ‘a clever way of building a nuclear power station’ 3 in the middle of London. 151

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Lubna Ibrahim Brutalist Weathering: Re-imagining London’s Southbank

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The materiality of concrete and its detail finishing is an aesthetic one. Concrete produces a variety of textures and finishes in which the surface often becomes affected by weathering, leaving residual marks such as biological growth, rust, grit and dust. Especially evident on the Southbank, buildings alter with time; weathering is the natural effect of time on architecture. The porous surface of concrete allows the accumulation of dirt and results in dramatically changing the outward appearance of a building and its surroundings. The dissertation engages with several photographs to develop the ways in which weathering allows us to reimagine the Southbank as an aesthetically impressive complex. Laura Skeggs Innovation at Shenley Hospital: Architecture and Mental Health

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Architecture can play a significant part in the treatment and recovery of mental health patients. The construction and design of Shenley Mental Hospital (open from 1934–1998) was described as a ‘tremendous advance’ by journalists writing at the time of its completion. Right from its inception, Shenley Mental Hospital could be understood as innovative in its design and ethos. Its original villa system design that consisted of blocks or villas, which housed around 50 patients, spread across the estate in a radial plan, was created as a result of advances in the treatment of mental health. The dissertation aims to highlight innovation through architecture at Shenley Mental Hospital – the way it was used to treat mental health, plus its adaption and adherence to modern research in the treatment of mental health in order to maintain its ‘progressive’ label. More famous case studies of contemporary architecture are used as a comparison; these include Ticehurst Hospital and Alvar Aalto’s Tuberculosis Sanatorium. The chapters within the dissertation are roughly chronological aiming to give a timeline of innovation and changes that occurred at Shenley Hospital; they cover aspects of the hospital such as Shenley’s homely interiors, the segregated community, and the famous villa experiments that took place there. Attention to detail and a conscious interior design effort meant that a domestic environment had been created and Shenley Hospital was a place that patients could feel at ease and call home. The original plans of the hospital – located in the London Metropolitan Archives – indicated that some villas at Shenley Hospital were marked ‘quiet and harmless’ and others ‘senile and infirm’ and patients were housed according to the severity of their illness within the villa system. After the New Mental Health Act was passed in 1959, treatment at establishments such as Shenley became more about integration within society and the community rather than segregation; it was realised that this was more beneficial to the treatment of mental health. Despite the ideas of patient care changing radically over the last century, staff at Shenley worked very hard throughout the years to adjust, learn, and innovate. Despite the revolutionary nature of Shenley, very little research or academic writing has been produced about it, which meant that this project was recovery in nature. The format of the dissertation mimics that of a scrapbook, like so many that were consulted in archives as part of the primary research. This research project sparked interest within the local community and former employees of Shenley. The project has been rewarding in the way it informs and intrigues local people about local history. Arguably few other contemporary buildings espoused such innovative and progressive approaches to the treatment of mental health as Shenley Mental Hospital. 152

Elizabeth Dow, Kevin Green, Chee-Kit Lai, Freddy Tuppen Year 1 Jinyu (Sandy) Chen, Dormy Chen, Rickie Cheuk, Chloe Gould, Sandhya Gulsin, Yashika Kerai, Shuen (Kelly) Lau, Frank Lee, Natalie Newsome, Anna Vorsel

Year 3 Caitlin Abbot, Amanda Campbell, Katharine Feltwell, Lubna Ibrahim, Laura Skeggs, Laura Skudder, Alex Vine, Angus Whitehead Thanks to our consultants and critics: Nadira Amrani, Emma Bailey, Chris Burman, Clio Collar, Alex Cotterill, James Green, Stephen Henderson, Bill Hodgson, Lucy Leonard, Alan McQuillan, Brent Pilkey, Regner Ramos, Jane Rendell Luke Scott, Ned Scott, Colette Sheddick, Eva Sopeoglou, Nina Vollenbröker and Alessandro Zambelli

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Year 2 Rosita Bannert, Florence Chester, Vendela Gambill, Candice George, Morenike Onajide, Akil Skafe-Smith, Emilie Skaff, Madeleine Valcour, Robyn Vey, Thomas Visscher, Velvet Young

Project X: Design and Creative Practice aims to help students build a creative and reflective practice of their own. It enables them to undertake a mode of working that particularly interests them and an independent practice-based project in which they can research and pursue a subject of their preference. Students are asked to think about architecture in interdisciplinary ways, explore alternative approaches to design and situate their work within a broader cultural context. The work is developed in conjunction with a short written piece. A series of key questions confront students at different stages of the year concerning the nature of their practice, the contribution of their work to the broader field of architecture, the originality of their project, and the selection of appropriate media for the ideas pursued. This year our Year 1 Project X students have designed their own manifesto. Each of the principles of the manifesto has been defined from the students’ experience of the city. The students have dealt with issues surrounding collaboration, making, the contextual framework of the history of manifestos, and the public nature of such an undertaking. In response to the recent decamp of The Bartlett School of Architecture, Year 2 Project X students were given the task to explore three key words for Term 1 – ‘relocate’, ‘reclaim’ and/or ‘remediate’. The students chose this as a starting point to create spatial interventions that explored the sense of space and place both physically and emotionally. Through the interventions students slowly defined their individual creative spatial language, which was further expanded throughout the year. Year 3 Project X students started the year each making a three-minute journey-based film, exploring cut-up and editing techniques as a means to challenge expectations concerning space and time, fact and fiction. They went on to create a ‘hide’, exploring themes of social, physical, cultural and ephemeral concepts of concealment. The final projects developed from these earlier studies has proved to be both diverse and individual, drawing upon each student’s interests and concerns and utilising the skills and knowledge gained from other modules taken from across UCL. Professor Jane Rendell led a writing workshop for our students, helping each of them develop an individual and intelligent approach to creative writing, enabling them to let this voice inform and work in tandem with their design work. Across all three years of the module, the resulting projects are speculative and diverse, as is the use of differing media, ranging from animation, coding, casting, couture, street furniture design, playground design, joinery, film projection, musical composition, street photography, community consultation, film documentary, curating and material testing, to name just a few. We all travelled to Madrid for a field trip in term 1, including visits to design cooperatives, art centres and galleries, the trip was hugely educational and a lot of fun too!

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Fig. X.1 Laura Skeggs Y3, ‘28 Croxdale Road: An Archive’. This project is a collection of photographs, films and writings created in response to a home, 28 Croxdale Road. An exploration of domestic voyeurism, looking at private spaces that homeowners normally keep hidden. These spaces were archived in detail, using a range of appropriated languages, scales and media. The project has no conceivable end, but is recorded as a collection of familiar objects found within the home, photographs, slide viewfinders, personal writings and audio recording. Fig. X.2 Madeleine Valcour Y2, ‘Series of occasional seats for 132 Hampstead Road’. A series of site-specific, multi-use seating for the front of The Bartlett’s site at 132 Hampstead Road – a space currently regularly but

awkwardly occupied. The design addresses the flawed ‘sitting opportunity’ – the slim ledge cill of the building’s pebble-dash exterior. Fig. X.3 Caitlin Abbott Y3, ‘Old Bailey’. A costume designed for the character Old Bailey in Neil Gaiman’s Neverwhere. Made entirely from recycled copies of Evening Standard, the pockets are filled with bird food, allowing the character to appear and disappear in clouds of pigeons. Fig. X.4 Flo Chester Y2, ‘Relocate, Reclaim and/or Remediate: Cress-seeding experiment’. Small, but uniquely identifiable knitted seed pots were inserted into the urban environment around Euston in a week-long growing project to assess the hospitality/hostility of this environment to such a ‘natural’ endeavour.

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an adaptation that reflects our generation. Van Helsing is expressed as wallpaper depicting the lifecycle of garlic and other vampiric symbols. This wallpaper is to be hung in Lucy’s bedroom to demonstrate his voyeuristic attitude towards her. Fig. X.8 Vendela Gambill Y2, ‘Constructing the Immaterial’. Taking a generic architectural specification sheet as a starting point, the project looks at addressing how detailed language of specification of materials, finishes and tolerances can be utilised to design interior spaces that reflect singular personality. The family tree is represented through the rooms of a house, each room designed to subtly evoke a memory of each family member.

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Fig. X.5 Alexandra Vine Y3, ‘Mayford Fables’. An exploration of experiences, observations and perceptions of the Mayford Estate in Somers Town. A series of videos combine fictional events and reality, and the project challenges questions surrounding architectural determinism and the role and changing perception of council housing in the 21st century. Fig. X.6 Robyn Vey Y2, ‘Relocate, Reclaim and/or Remediate – an abandoned Wates House’. Through the processes of survey, archaeological drawing and projection, the everyday but familiar plastic chairs that populated the now abandoned Wates House, their ghostly representation attempt to evoke feelings of nostalgia and sadness. Fig. X.7 Katharine Feltwell Y3, ‘Dracula Manifested’. A retelling of Dracula through the medium of interior design, using personal influences, to create

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Fig. X.9 Angus Whitehead Y3, ‘Electronic Family’. The project involved the creation of a complex series of electronic devices that travel by bicycle between the home and, in this case, UCL. They monitor Angus’s mood and activity, constantly feeding the information back to a log, that is held in a website to be read when safely at the destination. The devices, though inanimate, have been designed to suggest a sense of consideration and empathy between them and the ‘wearer’. They are small and fragile and require delicate handling. Fig. X.10 Angus Whitehead Y3, ‘Electronic Family’. Fig. X.11 Rickie Chuek Y1, ‘Ways of Being’. Ways of being resourceful – solving a ‘gripe’, in this case, the lack of thermostatic control. Using only materials readily available to the designer led to the manufacture of a functional solution, with a unique ad-hoc

style. Fig. X.12 Lubna Ibrahim Y3, ‘Reconstructing Play’. Experimental series of playground installations offering children a chance to be more creative with the idea of play without the overbearing presence of ‘health and safety’. Using reclaimed timber potentially offering a more surprising (and less formulaic) shapes and forms. The scale of the elements might offer a challenge as to how to move and connect them.

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Fig. X.13 Amanda Campbell Y3, ‘Comp-A-Tent’, a disposable, The audience is invited to watch certain scenes in the play via fully compostable tent, to reduce the environmental waste CCTV on the lower deck, before being led up to the top deck produced by music festivals, where more than 20% of tents where the next scenes are played out. end up in landfill. Through material investigations, Amanda was able to enhance properties of bioplastics to create a lightweight, water resistant and compostable tensile skin. This project is ongoing and is currently being pursued as a business venture called Comp-A-Tent Ltd. Fig. X.14 Caitlin Abbott Y3, ‘London Hide’. A hide/coat made of filled binbags which camouflage and conceal the wearer from view as they traverse the London Streets. Fig. X.15 Caitlin Abbott Y3, ‘Earl’s Court Bus’. A mobile set design for a scene in a theatrical adaptation of Neil Gaiman’s Neverwhere. The Routemaster bus collects the audience from secret locations across London.

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with everyday objects that students and staff encounter and associate with UCL. Tattooing everyday objects (such as food) reclaims them and their subsequent relocation forces the viewer to re-evaluate their specific qualities. Fig. X.18 Laura Skudder Y3, film still. Fig. X.20 Laura Skudder Y3, ‘Filmic Space Distortion’. A project that looks at how film, as a medium, is able to distort our experience of space. Exploring how the use of mirrors placed within film frames to create ambiguous planes of heterotopic space, in order to make the viewer aware of the medium and its limitations. Using the techniques and language of surrealist film, the project records a journey through the streets of Bloomsbury, which is both inspired by and a recreation of a journey described by Virginia Woolf in her essay ‘Street Haunting’.

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Fig. X.16 Dormmy Chen, Anna Livia Vorsel, Chloe Gould, Natalie Newsome, Sandy Chen, Sandhya Gulsin, Frank Lee, Kelly Lau Y1, ‘Ways of Being’. The manifesto was generated out of each member’s individual ‘gripe’, singular observations concerning what might be wrong with London and hopefully could be improved in the world about them. The manifesto initially developed as a text and subsequently rationalised into an axonometric iconic house. Each member proposed a positive solution to their gripe, that offers the viewer new perspectives of seeing the world and living their lives, through proactive behaviour. Fig. X.17 Emilie Skaff Y2, ‘Markings of UCL’. Getting a tattoo – marking an object with an idea, an emotion – relocates the object to a specific space. The project consists of analysing the markings of the Bartlett environment

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MArch Architecture (ARB/RIBA Part 2) 162 Programme Director: Julia Backhaus Director of Design: Christine Hawley

Image: MArch Architecture Unit 23, Y5, student Greg Storrar presents his work during final crits

Unit 10

Redefining Utopia Bernd Felsinger, CJ Lim

Year 4 Chang Cui, Chun Ting (Sam) Ki, Ka Man Leung, Yolanda Leung, Michael Quach, James Smith, Eric Wong Year 5 Ran (Julia) Chen, Marcin Chmura, Lauren Fresle, Alfie Hope, Ashwin Patel

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Unit 10 would like to thank Simon Dickens for his teaching of the Design Realisation module

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Utopia: an imagined place or state of things in which everything is perfect. The word was first used in the book Utopia (1516) by Sir Thomas More. By definition an unreachable destination, broadsides on utopia have been launched since its very inception. The word ‘utopian’ is more often than not used in the pejorative, pertaining to proposals featuring alternate realities rather than dealing with society’s real and pressing ills. Such criticism misses the point and dismisses the potency of the utopic vision. Plato’s Republic (400 B.C.), Thomas More’s Utopia (1516) and Francis Bacon’s New Atlantis (1627) were intended as neither fantasies nor blueprints for reification, but reflections on the societies in which they were written. Ebenezer Howard’s garden city, for example, was inspired by the utopian tract, Looking Backward: 2000-1887, by the American lawyer, Edward Bellamy. The third largest bestseller of its time when it was published in 1888, Bellamy’s novel immediately spawned a political mass movement and several communities living according to its ideals. Letchworth Garden City and Welwyn Garden City in the UK are founded on Howard’s concentric plan of open space, parkland and radial boulevards. Housing, agriculture and industry are carefully integrated, and the developments remain two of the few recognised realisations of utopia in existence. The cost of utopia is what lies outside of utopia, the forgotten communities and infrastructure is required to support it, a counterpoint that is sharply observed in the Peter Weir film The Truman Show, depicting the new urbanist town of Seaside in Florida. The urban condition raises recurring as well as fresh challenges for every generation. In the past, architects have not been slow to offer forth their vision of utopia or ideal city, ranging from the polemic (Ron Herron’s ‘Walking City’, 1964) to the serious (Le Corbusier’s ‘Radiant City’, 1935), the futuristic (Paolo Soleri’s arcologies) to the Arcadian (Frank Lloyd Wright’s ‘Broadacre City’, 1932). Utopian visions, whether or not they are accepted, are reflections of society in which they are imagined and have a powerful influence on the public consciousness. This year, students were required to establish an intellectual critical position on the interpretation of ‘Utopia’ and redefine the utopian city through narratives. JG Ballard has written that the psychological realm of fiction is most valuable in its predictive function, projecting emotion into the future. We encouraged expressions of personal ideology, scale and working methods in search of visionary architecture and urban utopian speculations.

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10.2 Fig. 10.1 Eric Wong Y4, ‘The Institute of Moral Compass’. The corporate image of Disney is reconfigured as a morally responsible institute. Through reimagining the animated as spatial storytellers, the proposal becomes a moral and public insertion in the heart of London that aims to shape a more diverse and holistic city. Fig. 10.2 Alfie Hope Y5, ‘Growing Land in Bristol’. Sea Rise City is a floating infrastructure for future urbanism on water, replacing land lost to sea level rise; an enterprise of ‘growing’ land made from bamboo grown on floating fields. Fig. 10.3 Ran Chen Y5, ‘The Cloud Bank 2061’. The future of Singapore’s national security relies on the creation of a sustainable water-independent state before the water supply agreement. Inspired by the natural cloud system, the water management strategy aims to transform the urban 164

strategy and redefines the city’s priorities. Fig. 10.4 Chun Ting (Sam) Ki Y4, ‘Goodbye Berlin!’. Inspired by Christiane’s view from the film Goodbye, Lenin!, the masterplan looks back in time, to erase contemporary Berlin and construct a staged inhabitable green backdrop consisting of dwellings, civic centres and urban wheat fields supported by a wastewater treatment system. Fig. 10.5 Lauren Fresle Y5, ‘The Oasis of Peace’. Utopia is a place before heaven, set in Latrun Salient, Israel. The intercultural experiment of Jewish and Arabic community acts as a centre for global democratic peace. The Garden of Life, the Garden of Knowledge and the Throne collectively present community cohesion through education and cultivation of sustainable agricultural techniques and water resource management.

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10.6 Fig. 10.6 Michael Quach Y4, ‘The Reformed Parliament, Hull’. The proposal explores the idea of creating political reform through architecture and affordable forms, using decentralisation of London and its temporary status as a catalyst for a better future in some of the most deprived parts of the UK. Fig. 10.7 Ashwin Patel Y5, ‘SuperTuscany’. Global warming foresees an ecologically induced migration of terroir from Tuscany to the Thames Estuary. Due to sea rise, by 2100 the estuary has increased in size, presenting an opportunity to host an 168

industrialised landscape of floating vineyards with manufactured soils assembled over flooded marshlands. Figs. 10.8 – 10.9 Marcin Chmura Y5, ‘The United Suburbs of AmeriKa’. The United Suburbs of AmeriKa is desperate to rekindle the ‘American Dream’, turning to real estate to alleviate the National Debt. The US takes on the role of Global Waste Importer, exploiting environmental concerns to surreptitiously acquire nuclear waste and cheap materials with which to manufacture landmasses, marketed to foreign investors as a real estate investment.

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Home Ground Laura Allen, Kyle Buchanan, Mark Smout

Year 4 Felicity Barbur, Robin Farmer, Emma Kitley, Fergus Knox, Adam Lampon, Ali Qureshi, Fergus Seccombe Year 5 Andrew Barrington, Nicholas Blomstrand, Harry Grocott, Wei Zang (Lucas) Ler, Gareth Marriott, Ka Yee (Tracey) Shum, Michael Slade, Marcus Stockton The Bartlett School of Architecture 2015

Thanks to our hosts at Berkeley University, Nicholas De Monchaux, Mark Anderson and Laci Vidimsky, and to Geoff Manaugh for joining us on our San Fran trip. Thank you to our critics: Mark Anderson, Shumi Bose, Mags Bursa, Nat Chard, Peter Cook, Nicholas De Monchaux, Johan Hybschmann, Emma Flynn, Will Jeffries, Holly Lewis, Geoff Manaugh, Ana Monrabal, Luke Pearson, Narinder Sagoo, Bob Sheil, Jill Stonor, Laci Vidimsky, Tim Waterman, Sandra Youkhana

San Francisco Bay is neither a wilderness nor a wasteland. The place between land and sea is impure and fertile, productive and profoundly transformed. It is both the West’s most ecologically important estuary and its densest city.1 The 21st century idea of home exists between the private space of the house and the public space of the city. The contained experience of private space is projected onto the megascale of social, technological, economic, and environmental infrastructures. In San Francisco and the Bay Area, a complex social and physical landscape – the city’s urban ecosystem – is seen as a site for new typologies of inhabitation and challenges to the operations of public and private space. The Bay Area ‘Megalopolis’ The Bay Area can be imagined as a megacity, punctured, or maybe bound together, by a watery gap in the centre. Its binding edge is a hybrid landscape where ‘lines on the land set apart wildlife preserves and paved urbanity and lines on the map segregating private and public property’.2 The coastline, in an extraordinary act of terrestrial engineering, has been repeatedly made and remade, to contain many of the land uses that cities traditionally push to the edges – industrial and military sites such as oil refineries, chemical plants, waste dumps, airports, logistics hubs, quarries and explosive factories, in various stages of growth or decay, rub shoulders with residential and civilian sites on the reclaimed topographies of polluted mud flat and estuarine marsh. This exploited landscape is a reading of history and economy of the city and society that formed on its shores.3 Make, Work, Home and Garden This year’s programmes take on the demand for densified urban living that embrace the city’s extraordinary dynamism and counter-cultures such as its existing communities of microcities, ‘Google ghettos’, suburban hybrids and self-sufficient communities to name a few. With a spirit of optimistic invention we began with an introduction of short micro-projects, making prototypical incisions and insertions into the public body of San Francisco. These developed into new forms of habitation which draw on the contemporary condition. They borrow technology, materials, typologies and conventions from the industries, cultures and processes of the city, to write another layer of history on the city.

1 Matthew Morse Booker, Down by the Bay: San Francisco’s History Between the Tides. (2013), University of California Press 2 Booker (2013), ibid 3 Lay of the Land, Center for Land Use Interpretation (2001) 172

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Fig. 11.1 Harry Grocott Y5, ‘The Mission Bay Hydro-Halls’. Rising out of an excavated stretch of artificial shoreline, the Hydro-Halls seek to challenge how we confront the effects of rising sea levels. The scheme celebrates the influx of Bay water as both an environmental and recreational resource, helping to embed the proposal within its Californian context. Figs. 11.2 – 11.5 Gareth Marriott Y5, ‘Your Local Californian SUPERSTORE’. The project reimagines the banal energy and data storage of today’s internet giants as a dynamic terrain in Silicon Valley. Exploring the energy potential of kinetic architecture, within a mechanically saturated microclimate, as the hypothetical context within which to propose a prototype suburb: a massive inhabitable battery. Fig. 11.6 Fergus Knox Y4, ’Alta Vista, Densifying the Sunset’. Off-grid

housing that harnesses the unique qualities of San Francisco’s fog. Houses occupy the air space above existing residential neighbourhoods. Water is collected by membranes encasing each house to power an internal fuel cell.

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Fig. 11.7 Emma Kitley Y4, ‘1:1 Concrete Knot Prototype’. Concrete is celebrated through various fabric formed construction methods. Concrete knots form permeable walls between public space and private workshops where concrete canvas emergency housing units are fabricated. Fig. 11.8 Mike Slade Y5, ‘Recology Homes, Plastics Workshop Collage’. Sorting hoppers, scanners and shredders process plastic waste delivered to the Brisbane Landfill site. Recycled materials are channelled through a series of extrusion and injection moulding machines to form plastic building components. This kit of parts is assembled into housing units along the workshop’s production line. Fig. 11.9 Lucas Ler Y5, ‘Fog Envelope’. The pleated envelope is designed to capture, store and harvest moisture from the San Francisco fog. The

interaction between the topographical roof and the fog creates ephemeral weather experiences. The fog serves as passive heating and cooling strategies, moderating the building’s internal climate. Fig. 11.10 Robin Farmer Y4, ‘Beyond the Closet’. An in-fill housing scheme rooted in the heart of the Castro that encourages the spirit of community to start at home, creating a hidden community within the existing urban block, nestling into the existing Victorian vernacular. Fig. 11.11 Marcus Stockton Y5, ‘SPACE-CRAFT TI’. Explores the potential of video games to define and create spaces. Addressing the derelict site of Treasure Island the project seeks to play out its possible future. Approaching design through gamic planning and world design the site is treated as ‘game-space’ in which users can create alternate futures for this icon of the Bay.

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Fig. 11.12 Adam Lampon Y4, ‘Resistant Housing’. The project seeks to develop guest houses onto an existing playground within the city of San Francisco. The architecture aims to both increase low rise building density and improve a public recreational fitness playground by creating relationships between the private space of the house and the public space of the city. The guest homes will form a new building typology and alternative method of living by combining fitness and resistance into everyday life using various systems and technologies. Low-tech and high-tech physical resistance methods will work alongside human interaction to power these systems. The project aims to create a more sustainable self powered mode of living. Fig. 11.13 Fergus Seccombe Y4, ‘The Vintner’s Mask’. As the amount of dust increases during

the drought in Napa Valley, this device allows the Vintner to taste the air and identify the ‘aerroir’, an airborne equivalent to terroir. The dust can then be captured in the vineyard and used to grow vines. Fig. 11.14 Ali Qureshi Y4, ‘The Alpine Sanctuary’. Taking inspiration from the theological fables of the Swiss Alpine landscape the Alpine sanctuary is a spiritual retreat consisting of a rock climbing programme and accommodation for climbing enthusiasts. The relationship between these two programmes dictate sensorial moments within the building but also how the materiality and the image of the mountain can be represented architecturally.

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11.15 Fig. 11.15 Ka Yee (Tracey) Shum Y5, â&#x20AC;&#x2DC;The Celebration of Fleur de Selâ&#x20AC;&#x2122;. The project observes the ecological aesthetics of the post-industrial landscape of saltwork in the south Bay Area, exploring how it can generate architecture that captures the material colour and spatial quality simulated by the crystallisation of salt. Fleur de sel (flower of salt) describes this coral-like crystal salt with a high mineral complexity that generates these multi-coloured mineral clouds. The natural sequence of its production inspires the key spatial organisation of the architecture.

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Fig. 11.16 Felicity Barbur Y4, ‘Pier 39, Home of the Tourist’. A design scaled at ‘one to pier’. Iconographic landmarks a tourist identifies with the image of the city of San Francisco are distributed along an ascending roof-scape promenade. Each icon hosts an attraction amenity space, such as a toilet offering a vista with pier perspective. Figs. 11.17 – 11.18 Andrew Barrington Y5, ‘The New Visitacion Valley – an Oasis for the Food Desert of San Francisco’. The scheme is multi-layered with a food distribution and storage centre built underneath an avocado farm. The farm acts as a public park as well as a much needed source of fresh produce for the food desert residents. This roof surface spreads out into the nearby residential areas creating green spaces and walking routes from each side of the site. The result is an artificial landscape

created by food production – much like the rural farming landscapes of America. The long ‘fingers’ make lorry loading/ unloading easier and also create pathways from the nearby houses into the avocado farm. Along these paths are community allotments which are used for growing and learning. Produce is then sold in the community cafe situated above the bridge in a new roadside diner.

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11.19 Fig. 11.19 Nicholas Blomstrand Y5, ‘The Hollister Experiment’. The faults across California are overdue a massive earthquake, but the ability to predict precisely when the ‘big one’ will strike still evades us. Scores of geologists, seismologists and pseudo-scientists descend on the small town of Hollister, waiting for an earthquake to study and experience it first-hand. Faculty buildings, dormitories and seismic interventions are arranged along a linear campus landscape which cuts through the existing urban fabric and follows the path of the ‘creeping’ Calaveras Fault.

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Unit 12

Occupying the City of London Matthew Butcher, Elizabeth Dow, Jonathan Hill

Year 4 Stephanie Brancatisano, Kacper Chmielewski, Holly Crosbie, Matthew Sawyer, Luke Scott, Zahra Taleifeh, Matthew Turner Year 5 Akhil Bakhda, Samiyah Bawamia, Larisa Bulibasa, Alex Cotterill, Benjamin Ferns, Helena Howard, Tereza Kacerova, Joseph Reilly, Adam Shapland The Bartlett School of Architecture 2015

Thanks to our Design Realisation tutor James Hampton and structural consultant Ben Godber. We would like to thank our critics: Abi Abdolwahabi, Gianluca Adamei, Alessandro Ayuso, David Buck, Shumi Bose, Nat Chard, Tom Coward, Alison Crawshaw, Maria Fedorchenko, Daisy Froud, Omar Ghazal, Manuel Jiménez Garcia, Rory Hyde, Adam Kaasa, Jan Kattein, Constance Lau, Ifigenia Liangi, Lesley McFadyen, Justin McGuirk, Tom Noonan, Luke Pearson, Francisco Sanin, Eva Sopeoglou, Jill Stonor, Michiko Sumi, Gabriel Warshafsky, Nina Vollenbröker, Fiona Zisch

In the early 18th century around 500,000 people squeezed into the City of London, with homes, businesses, industries and cemeteries side-by-side. Today, less than 10,000 people live there. The City’s massive buildings and tight street pattern make it the most urban part of Greater London but it is only a workplace, and empty at the weekend. Unit 12 proposes that the City’s population will increase to 500,000 so that its dense urban life will match its dense urban fabric. No longer will the City be dedicated only to the financial market. Instead, it will contain all the activities associated with metropolitan urbanism, as well as those that challenge familiar assumptions about urban life. Each student in Unit 12 has proposed a new building and a new programme that contributes to a socially, culturally and politically vibrant City of London. Monument and Ruin The early 21st century is often associated with ephemerality and transience. Without rejecting these qualities, we propose that monumentality should be celebrated too. Rather than only adulatory, the monument’s purpose is complex and questioning. The etymology of the term refers to the Latin monumentum, which in turn derives from monere, meaning to remind, warn and advise. The monument is interdependent with the ruin. Monuments can be ineffective means of collective remembrance, and their original meanings are soon obscured unless they are reaffirmed through everyday behaviour. Alongside the creation of monumental buildings that recall and represent societal values, there is a process of forgetting in terms of material decay and ruination, which may result from natural processes or human actions. Monumentality is a characteristic of the City but it only serves to glorify the financial market. Instead, we have inverted familiar hierarchies so that unexpected and everyday building programmes are celebrated. We have posed the question: what should we monumentalise today? And equally, we have asked: what should we ruin today? Rather than the monument and the ruin being conceived as conflicting, they are constructive themes interdependent within a single building dialectic. Designs on History To design, the architect must decide what to remember and what to forget. Vincent Scully concluded that the architect will ‘always be dealing with historical problems – with the past and, a function of the past, with the future. So the architect should be regarded as a kind of physical historian’.1 The most creative architects have looked to the past to imagine a future, studying an earlier architecture not to replicate it but to understand and transform it, revealing its relevance to the present. 21st century architects should appreciate the shock of the old as well as the shock of the new. 1 Vincent Scully, American Architecture and Urbanism (1969), London: Thames and Hudson, p.257

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Fig. 12.1 Benjamin Ferns Y5, ‘Pontifical Academy of Sciences’. Architecture must be used to challenge the docile pedagogy on the role of knowledge in education, the morality of scientific endeavour, and to respond with a transcendental teaching rooted in inquisitiveness and experiential realities. The Pontifical Academy of Sciences, established in 1603, is assembled from raised thematically organised libraries and ritualistic lecture spaces, situated within a modulated landscape to induce physical and metaphysical wandering. Fig. 12.2 Kacper Chmielewski Y4, ‘Atheistic Typology’. It is estimated that by 2040 affiliations to the Anglican church in Britain will be less than 1% of the population. A new contemporary type of cubistic iconoclasm has been developed to accommodate for the discourse between the fallen religious

doctrines and nostalgia for ecclesiastical beauty. Fig. 12.3 Holly Crosbie Y4, ‘Rehydrating the City of London’. The monument to drinking water provides two basic needs for life, water and shelter. A landscape of filtration along the river fleet purifies surface and river water to rehydrate the dry drinking fountains of the City of London. The curious forms of the filtration landscape become a riverbank retreat. Fig. 12.4 Luke Scott Y4, ‘An Alternative Civic Archetype’. The streets of the City of London serve as a new political stage, in which a field of elements are assembled, deconstructed and appropriated through crowd occupation. Destablising familiar forms, materials, and symbols of municipal architecture through their rearrangement, the proposal seeks a permeable and interpretive theatre for events to unfold in the street.

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Fig. 12.5 Matthew Sawyer Y4, ‘A New Guildhall’. The project hypothesises a future City of London. A new Guildhall administrates and facilitates the deconstruction and reconstruction of the city in an attempt to increase experience. The building also houses an archive to collect and display relics from the ‘Old City’. Fig. 12.6 Stephanie Brancatisano Y4, ‘The City Cooperatives’ seek to monumentalise nature by giving power to ephemeral moments of the environment. Nature represents adaptation and diversity, countering the social and economic exclusivity that pervades The City. The project addresses this monoculture by proposing a network of decentralised Cooperative Councils, bringing the priorities of all Londoners to the forefront. Fig. 12.7 Matthew Turner Y4, ‘The London Institute of

Alternative Cartographies’. The London Institute of Alternative Cartographies is located at the confluence of The River Fleet and The Thames, a political and environmental fault line between the powers of The City and Westminster. In this fluctuating environment the project develops a fractal tectonic in order to alter perceptions of mapping and definitions of space. Fig. 12.8 Zahra Taleifeh Y4, ‘Birth, Love and Death: The Registry Office’. The public building works on the premise that each person would register a birth, marriage and death here, allowing the architecture to be experienced at three different stages of life and in three different emotional states. The architecture plays with perception, depending on the emotional state of the user, and the same room can be read in three different ways: as life, death or love.

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12.10 Figs. 12.9 – 12.10 Joseph Reilly Y5, ‘The Raft of the Medusa’. Crossrail have sent 4.5 million tonnes of earth, from beneath the City of London’s Streets, to Wallasea Island in Essex. The project follows the exiled earth down the Thames to Wallasea where a new simpler city emerges upon the foundations of ancient London. A brewery, bakery and mill are built around a vast floating raft of wheat: a commodity for a cleaner economy. The programme laments the disappearance of the City’s vibrant past life, whilst allegorically critiquing the sterility of the contemporary plutocratic City.

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12.12 Fig. 12.11 Akhil Bakhda Y5, ‘Mars Circus, City of London: United Spacefaring Nations Headquarters’. The little known UNOOSA (United Nations Office for Outer Space Affairs), is currently one of the largest committees in the United Nations. With a membership of 77 nations, 14 of which are currently spacefaring, the committee has grown rapidly from its humble beginnings in 1958 when there were only 18 member nations. The committee has had to respond to spikes in space activity from a small base within the United Nations Offices in Vienna. This project explores the notion of a new United Spacefaring Nations Headquarters in the City of London to house the activities of the burgeoning UNOOSA, particularly in response to the ever intensifying space race to Mars. Fig. 12.12 Adam Shapland Y5, ‘Independent Cornish Assembly’. Cut into the

sublime granite cliffs between Geevor and Levant coastal tin mines, the Independent Cornish Assembly is proposed as a direct response to the growing campaigns for Cornish Independence and political separation from a centralised Westminster government. The project imagines a parliamentary system which is embedded within a prototype industrial landscape designed to de-water the extensive underground flooded mine shafts and tunnels whilst extracting the high concentrations of precious metals from the contaminated water. The resulting hybrid architectural condition therefore aims to demonstrate a practical clean-up model whilst evoking experiences of the picturesque and industrial sublime. 187

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12.14 Fig. 12.13 Helena Howard Y5, ‘The City of London Craft Guild of Polychromy’. The guild proposes a re-engagement with craft through the introduction of a 21st century Gothic revival. Polychromy is used to counteract the new 21st century blandness – that of the steel and glass financial sector. Apprentices aged 18 and above are taught both digital and analogue techniques of architectural colour production, in order to facilitate the spread of the New Gothic polychromy throughout the Square Mile and beyond. Fig. 12.14 Tereza Kacerova Y5, ‘The Neighbourhood House’. In a city where property prices and rents are increasing every year, the project questions the efficiency of modern living and proposes to rethink the typology of a home as an enclosed, compartmentalised and increasingly segregated space. 188

The project argues that the architecture of the domestic sphere shapes the way we inhabit our surroundings and proposes a house as a neighbourhood. This consists of a public, private and intermediate zone, which compensates for the size of the dwellings and provides necessary space where the residents can spend their time, live-work-meet.

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12.15 Fig. 12.15 Larisa Bulibasa Y5, â&#x20AC;&#x2DC;A Financial Library For The Square Mile Labyrinthâ&#x20AC;&#x2122;. As a microcosm of the City of London, the Financial Library is an attempt to translate the complex and often conflicting state of affairs apparent in the incomprehensible and absurd theatrical scene of the financial district into a labyrinthine architecture that is simultaneously a narrative and a physical experience.

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12.17 Fig. 12.16 Alex Cotterill Y5, ‘Planned Ignorance ’. Through speculating on a reinhabitation of the City of London to its former capacity, this project is a satirical take on modern society’s struggle to become ‘sustainable’ at the expense of their normal lives, capitalising on the economy of pleasure as an analytical and idealistic tool to integrate society with its waste and reinvent Eden on earth. Fig. 12.17 Samiyah Bawamia Y5, ‘Association of Feminists in Property’. The architecture of the headquarters for the Association of Feminists in Property responds to the second-wave feminist movement by accepting and empowering the female experience, while playing up feminine attributes as defined in Luce Irigaray’s writings. Taking precedence from the reading of Sir John Soane’s museum as a feminist architecture, the

headquarters aim to generate ideas and hidden associations, while creating subjectivities rather than being prescriptive. A saturation of space and colour is also a reaction against the 20 th century modernism which has left the City of London with a limited architectural vocabulary and palette.

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Unit 15

Operations of the Formless Aleksandrina Rizova, Stefan Rutzinger, Kristina Schinegger

Year 4 Ruxandra Gruioniu, Tomohino Sugeta Year 5 Katie Browne, Wang Fung Chan, Yin Hui Chung, Sam Dodsworth, Shinnosuke Takayanagi, Augustine Ong Wing

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We would like to thank our consultants Christian Derck, Robert Hazell, Nick Ling and Mark Thompson. Thank you to our critics: Niran Buyukkoz, Marjan Colletti, Marcos Cruz, David Edwards, Leila Khan, Maren Klasing, Jeffrey Lee, Ricardo de Ostos, Johannes Schafelner, Andy Young

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This year Unit 15 explored the potentials of formlessness in architecture. Formless materials and phenomena like dust, mud or vapour are not devoid of form, since they have a physical body and material properties. Yet their appearance cannot be reduced to a figure or shape; they maintain a tendency towards change and transformation, openness and ambiguity. According to Bataille’s description of l’informe, its slippery character results in an operational force – as interesting as what the formless is, is how it performs and what it evokes. The instability of formless phenomena enables transformation and change in a most surprising way. Their spatial formations are indicators of the causes that modify them at an elementary level – they are variant and malleable yet predictable at a very high level of complexity. Nowadays, simulation tools allow us to understand architecture as complex and entangled formations that can be orchestrated and predicted, yet not entirely determined or fixed. Agent-based simulations do not only alter the conception and traditional notations of architecture, they trigger a radical shift: the direct control of the author on form generation is replaced by the manipulation of selected parameters and boundary conditions of complex systems. Unit 15 embraces this development, yet critically examines this voluntary relinquishing of control by architects as well as the social, cultural and aesthetic consequences. The testing ground for our spatial experimentations was Novi Beograd, or New Belgrade. Its modernistic masterplan was designed as an idealised image of society and took several decades for implementation, during which it was constantly adapted and altered. The underlying intention was to represent a new social and political order through selfreferential geometries and a clearly legible city structure that ignored the existing marshlands – a universal grid on a tabula rasa. The masterplan was never completed, New Belgrade became a sleeping town with a mixture of formal urban planning and informal sprawl. The aim of the individual student projects was to understand the city’s voids and incompleteness as a potential for densification and transformation. The formless was understood as a critical tool in order to question the inherent top-down approach of an urban masterplan. Students speculated on how the idea of formlessness can be applied to architecture in different scales and stages – from urban design to individual inhabitation, from performative strategies to emergent fabrication. Students were developing alternative typologies and formation processes that renegotiate the relation of top-down and bottom-up systems, consistency and adaptation, predictability and emergence.

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15.2 Figs. 15.1 – 15.5 Wang Fung Chan Y5, ‘Amorphous Dematerialisation: Research Centre for Innovative Mobility’, Belgrade, Serbia. Located along the Highway of Brotherhood and Unity, the centre hosts research and conference facilities, encouraging interaction between scholars and academics, and promotes the development of the Serbian automotive industry. With digital simulation and computational scripting, gradual transition from amorphous to fibrous structure is established. The typology challenges typical building organisation; it responds to programmatic constraints and given environmental patterns, resulting in exquisite and delicate atmospheric qualities for the multi-scaled space.

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Figs. 15.6 – 15.8 Shinnosuke Takayanagi Y5, ‘Corrosive spatial modification in order to improve the entire network Morphogenesis’. Corrosive behaviour during metal oxidation system of the city. has been simulated to compute heterogeneity of reduction and sorption at an architectural scale in order to capture its over densified spatial qualities. The Institute of Digital Art Studio for young creators is a co-working studio filled with modular systems to create flexible and adaptive building systems for the internal and external spatial needs and demands. Social and cultural interaction between users can be produced through the interlocking space. Based on the correlation of spatial diagnoses (Space Syntax, Spacematrix and MXI), particle systems are scripted to generate new densification networks over the site, Novi Beograd. Gradational patterns created by the various densities informs the necessity of 196

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Fig. 15.9 Ruxandra Gruioniu Y4, ‘School of Fashion and Textile Design’. The project aims to integrate fibrous aspects in order to diversify the internal atmosphere and its constant change. By creating ever-changing light conditions, the main event space is therefore able to provide tunable qualities for the development of the theatrical performances of its fashion shows. Figs. 15.10 – 15.11 Tomohino Sugeta Y4, ‘Fibrosity of Intangible Crystallum’. Inspired by the experiment with urea crystals, the project looks at the possibility of fibrosity that establishes an overlapping network between multiple nodes. The proposal features the fine mesh of crystal structures that defines the spaces subtly and challenges the linearity of conventional school typologies. 197

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Figs. 15.12 – 15.15 Augustine Ong Wing Y5, ‘Neo-Orient Express Station: A Cathedral of Culture to Encapsulate the Relics of the Past and Seeds of Future Cultural Production in Belgrade’. The project speculates on Belgrade’s re-emergence as a regional hub after full EU integration in the mid-2020s, with the city expecting to receive an influx of visitors which the station will accommodate. The internal hanging landscape can also be used for cultural activities and is connected in a close visual relationship to the exterior landscape. It has been conceived as a transitional landscape to an embodied space for culture and learning in which one can express and exchange ideas, visit an exhibition, and also board the train to a place far away. An emergent structural system is developed from branching algorithms and is used as a distributed ‘lung’ system

within the station to provide well-tempered macro-climates, responsive to local user crowding conditions. The resilient system incorporates a rich structural morphology to accommodate different performative needs at strategic points in the building. The massing study for the station masterplan could be read as a heuristic surface morphology derived from simulated crowd densities based on stochastic inputs. To satisfy recreational and task oriented users in the station masterplan, the interplay of agoraphobe zones for non-recreational activities and agoraphile zones for distraction and discovery activities is explored. The surface morphology acts as a ‘buffer’ for flows of crowds between the existing redevelopment of Belgrade with the rest of the old city.

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15.20 Figs. 15.18 – 15.20 Yin Hui Chung, Y5, ‘Hydrophilic Frontier: Ecological Hub’. A proposal towards a resilient waterfront infrastructure that lies at the confluence of Danube and Sava rivers in the heart of Belgrade. Responding to the disconnected riparian corridors and flow structures in Belgrade, the proposal reconnects people from the city to the river and reconsolidates the innate biophilic affinity of human towards water. Through computing a series of hydrodynamic simulation conducted to explore the bifurcation logic of flow turbulence, the buildings evolved from a gradual transition of flow typologies responding to given programmatic parameters on site, integrated within its riparian landscape. Gradual differentiation of flow elements are adapted for required functions such as structural walls, seatings, steps and guiding

rails resulting in a non-linear spatial strategy for the museum’s interior spaces.

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Unit 16

Bridges Johan Berglund, Josep Miàs, Dean Pike

Year 4 Robin Ashurst, Richard Breen, Ashley Fridd, Chelsea Hodkinson, Elzbieta Kaleta, Janice Tsz Lau, Catherine Prudence, Amy Wong

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Year 5 Negin Amuridahaj, Leif Buchmann, Jack Morton-Gransmore, Matthew Hudspith, Rebecca Muirhead, Rachel Pickford, Michael Pugh, Alexander Sutton, Jonas Weiss The unit would like to thank the following people for their support: Andrew Best and his team at Buro Happold, Dan Neal from Double Negative, all the thesis tutors who have enriched the projects through their input, Joachim Granit and Karin Englund at Färgfabriken Art Space, Niklas Svensson at Stockholms Stad, and all our critics and fellow tutors for their invaluable input throughout the year

Unit 16 aims to exist in a close symbiosis between academic research and architectural practice. Our way of working is close to how projects exists in a practice, with constant testing and reflecting through action, in order to challenge the limits of architecture. Our work is centered around the production of buildings, landscapes and spaces, with a clear understanding and interest in their relationships with the city. We see architecture as an act of realisation; of making something real which was only previously a brief thought, a vague concept, a utopian dream. We believe that actions speak louder than words, and we seek to educate architects who will use their proposals to challenge the lives, habits and actions of the world’s inhabitants. Stockholm, September 2014 Stockholm is a disconnected city, not only physically but also socially, financially, legally and mentally. Although it is known for its beautiful archipelago location, the centre is a land-locked, autonomous, highly gentrified urban island, disconnected from the larger metropolitan region. To make matters worse, the city is struggling to cope with the pressures of 50,000 new residents a year, most of whom aspire to live in the inner city. Stockholm needs to grow, and grow fast. Yet, the inner city cannot expand, due to both its geographic position and also the legal framework that protects a green belt that cuts off the inner city from the rest of the metropolitan region. At the same time, Stockholm is very well connected to Europe and the rest of the world. It is highly influential in contemporary culture, with strong music and fashion scenes. The region has also for a long time been at the forefront of the digital revolution. Early on, companies like Ericsson paved the way for a normalisation of technology, which created new generations of early adopters, and soon the country had one of the highest number of mobile phones per resident in the whole world. We find the contradiction between these dual conditions for connectivity interesting, and we explored concepts for both the physical and ephemeral city during the year. Stockholm, 2050 and beyond We encouraged students to venture deep into the future in order to predict and imagine new and imaginative ways for us to live. Taking inspiration from science, philosophy, technology and progressive environmental thinking, we sought to bridge the physical and technological idea of the city and create holistic, forward-looking, hyper-modern, self-sufficient, constructible, and beautiful architecture and urban space. We imagined and created possibilities of a new, upgraded Stockholm, for a connected yet unstable future.

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16.3 Fig. 16.1 Rebecca Muirhead Y5, ‘Bridging Cultures with the Kulu Women of Fittja’. The domestic kitchens of the Krögarvägen housing of Fittja are reimagined to act as ‘cultural mediums’, where the architecture can communicate the cultural practices of the Kulu migrant residents. New opportunities for positive social exchanges will mean that Kulu and Swedish cultures can truly bridge, and that this easily forgotten migrant settled suburb could be positively integrated with the city of Stockholm. Figs. 16.2 – 16.3 Jack Morton-Gransmore Y5, ‘Slussen Plan C’. Slussen is an existing monolithic transport interchange located at the very heart of Stockholm, positioned between the water and the city it connects the islands of Gamla Stan to Södermalm. The site has fallen into disrepair in recent years, demanding a new design. Slussen Plan C is a ‘Middle Ground’ in 204

all senses of the word. It creates an architecture between the existing structure and a new proposal, selectively adapting and interpreting the existing site to reveal a new architectural language. This creates an apex of a waterfront environment, developing an inhabitable topography and a public landscape between the city and the water. Most notably the private motor vehicle is eliminated from the site, enabling a programme that combines new and existing transport facilities and interchanges with a premises for the Ports Authority administration, as well as public outlets and services. This establishes Slussen as a starting point to a wider discussion concerning Stockholm’s urban waterfront and its future role within the city.

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16.5 Figs. 16.4 – 16.5 Alexander Sutton Y5, ‘Stockholm City Airport’. Travel demand in the aviation industry is set to double by 2030 and continue increasing into the future. Stockholm is used as a testing ground to develop an airport as part of a new city district. Design solutions, generated in response to aviation research, suggest how a new design approach to airport design can be achieved. This creates a fully integrated urban airport, with airport systems joining city systems as part of the city’s infrastructure, including micro-termini and shorter runways to slot into the urban context. Through such mechanisms it is possible that airports may operate within a city on a more environmentally friendly level. The wonder of flight is immersed within the heart of the city. 205

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16.6 Fig. 16.6 Negin Amiridahaj Y5, ‘Invisible Voids’. This project investigates a proposal between submerged architectures and mega floats, creating new hollow islands; voids in the water for public use. It uses the water surface and its depth as a space to inhabit while remaining connected to the city fabric. At the same time, it respects the horizontality of the water surface and the beautiful horizon seen from the city. The voids aim to create a seemingly invisible and continuous space, starting from the city edges and descending into the water to provide a new possible space for the growth of central Stockholm. Fig. 16.7 Rachel Pickford Y5, ‘Stockholm Stadmission Headquarters and Education Centre’. The design helps to integrate the increasing number of EU homeless migrants within the city of Stockholm. Furthermore the project aims 206

to create a ‘pocket utopia’ under the Skanstullbron bridge creating a place for the migrants and the Stockholm citizens. The architecture of the buildings plays on the idea of nomadic infrastructure using a fabric core to investigate warm and tactile environments. Fig. 16.8 Kate Prudence Y4, ‘Stockholm Mixed-use Housing Scheme’. A mixed-use scheme links the districts of Norrmalm and Kungsholmen in central Stockholm consists of layered public and private spaces that aim to reconnect the city to the water. Using the space above Stockholm’s water and existing infrastructure, the scheme tackles the city’s housing shortage by providing accommodation in the heart of the city centre.

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16.10 Fig. 16.9 Leif Buchmann Y5, ‘String Theatre’. The design’s central premise introduces an empirical investigation on the effectiveness and qualities of architectural space particular to the architecture of ‘veiling’ for an open air theatre in Stockholm. The focus is on the physical implications of veils consisting of lines, planes and surfaces. Veils – consisting of strings, rods, threads and traces – are interwoven to form a filigree lattice of tectonic material that is further enriched through the play and layering of light and shadow. Fig. 16.10 Matthew Hudspith Y5, ‘Alterity’. The project speculates over the devolvement of Rinkeby, a suburb on the edge of the city of Stockholm and proposes a new council and assembly hall to be located in the centre of Rinkeby. The architecture rejects the monumentality commonly found in political buildings, 208

and proposes a scene for political debate on a more domestic and human scale, attempting to bring the decisions surrounding the future of Rinkeby into the public domain.

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16.13 Fig. 16.11 Richard Breen Y4, ‘Slakthusområdet’. The project embraces the rich site history of food and butchery, creating a vibrant self-sufficient mixed-use scheme, to transform the industrial area into an attractive, adaptable and hyper-dense residential area. This new living system is achieved through modularisation, vertical living and an innovative and flexible structural and service system. Fig. 16.12 Robin Ashurst Y4, ‘Final Short Detail Section’. The project is an attempt to reimagine the city as a growing, three-dimensional structure as opposed to the plan-driven design of cities that currently dominates the profession and therefore also urban evolution. Through excavation into the bedrock, a new public domain is exposed below the current ground datum, allowing more public space to be created without reducing the available space for

commercial and residential developments above. Fig. 16.13 Rebecca Muirhead Y5, ‘Bridging Cultures with the Kulu Women of Fittja’. Proposal perspective view.

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Fig. 16.14 Amy Wong Y4, ‘Cliff Hotel (Söder Mälarstrand Waterfront Redevelopment)’. The hotel rooms overlook central Stockholm, with a spa that extends out onto the water. The building is a journey through the granite rock, with pocket views in the corridors and rock gardens, with a warm timber enclosure inspired by traditional Swedish vernacular. Fig. 16.15 Chelsea Hodkinson Y4, ‘Renal Rehabilitation Centre’. Hagastaden is located in the North of Stockholm and acts as a transportation gateway to the city, set among intersecting roads, railways and pedestrian bridges. Technologies within the building’s fabric reduce the harmful toxins and gases emitted from vehicular engine combustion providing better air quality for Hagastaden. Fig. 16.16 Elzbieta Kaleta Y4, ‘Hammarby Lock Interchange Centre’. The masterplan introduces a new

public area, connecting to the existing leisure and sport facilities to reinforce the relationship between the waterbody and the built environment. As an integral part to the masterplan, a public, water-based transportation route is introduced that aims to overcome Stockholm’s disconnectivity through the myriad of waterways. Fig. 16.17 Ashley Fridd Y4, ‘Kolsyrefabriken Studio’. Stockholm’s rapid expansion is resulting in an incongruous design and building language further dividing an already fractured city. The studio sits at the public interface on the edge of a masterplan development prototyping building techniques and technologies to create a new language akin to the populous’ psychological idea of their city.

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16.19 Fig. 16.18 Janice Lau Y4, ‘Urban Farming - Potato Garden’. The project introduces urban farming to Stockholm using a series of elevated walkways (food corridors) above an existing railway line. This combines public landscape, a growing environment and the existing transportation network to activate the existing site and its surrounding landscape to consider wider issues of sustainability across the city. Fig. 16.19 Ashley Fridd Y4, ‘Kolsyrefabriken Studio’.

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Unit 17

Devo Max Yeoryia Manolopoulou, NĂall McLaughlin, Michiko Sumi

Year 4 Cherry Beaumont, Jiong (Joanne) Chen, Seyedeh Tahmineh Hooshyar Emami, Antony Lees, Lok Kan Chau, Minghui Ke, Agata Murasko, Charlotte Page, Sze (Shirley) Tsang, Chenhan Wang Year 5 Emily Doll, Justine Dorion, Heather McVicar, Jonathan Paley, Chris Worsfold The Bartlett School of Architecture 2015

Thanks to our Design Realisation tutors Greg Blee and Lee Halligan, to Ben Hayes for workshops, to engineers Lee Franck and William Whitby and to Nicola Antaki, Sara Shafiei and Ishita Shah for field trip support. Thank you to our critics: Jessam Al-Jawad, Greg Blee, Hannah Corlett, Sandra Coppin, Bev Dockray, Killian Doherty, Nils Feldmann, Lee Franck, Lee Halligan, Ben Hayes, Shahed Saleem, Joshua Scott, Tania Sengupta, Bob Sheil, St John Walsh, Henry Williams We are grateful to our sponsors Blee Halligan Architects, Entwhistle Gallery, Tiranti and Yorun International

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The recent campaign and referendum on Scottish independence produced a level of engagement and political debate that is unprecedented in the modern era. We had begun to imagine that political apathy was a permanent feature of our modern democracies. It was striking that very few of the participants viewed themselves as Nationalists in the accepted sense. The discussion was focused on cultural identity, social equality and distribution of wealth. What is clear is that this debate will leave Britain changed forever. More people are likely to ask for regional autonomy and the ability to control funds within their own regions. Some of these regions will have a clear and long-standing identity; but other areas will be linked by new ways of sharing resources and generating prosperity. Britain may well turn into a federation or association of smaller political entities with new ways of competing, cooperating and expressing communal values. It is evident that the London-centred model of politics and economic distribution has drawn much of the life out of Britainâ&#x20AC;&#x2122;s great second cities. Lacking economic power and representative status, these once thriving hubs have withered and their architecture has suffered as a consequence. The great German or Swiss cities, operating within a Lander or Federal system, have continued to flourish as cultural capitals of their own regions. Meanwhile countries such as Spain and Ireland have developed strong architectural cultures as a direct benefit from regional distribution of democratic power. These issues remind us that architecture is primarily a public representative art: it has a duty to embody communal values in civic space. Is it possible that, if democratic power is distributed more evenly in the country, new cities might spring up; or forgotten cities might acquire new significance? We chose Leicester as our site, a modest but also particularly complex city that has the highest ethnic minority population in the United Kingdom for its size. We imagined how such a community in its hinterland would choose to express their social, cultural and political values through new democratic institutions. We looked at how history, resources, technology and landscape can inform design and how social ideas and built outcomes would have a meaningful relationship with each other. We designed individual public buildings within a shared urban plan, asking how architecture might find its vocation as the built embodiment of communal identity. Nearly 30% of Leicesterâ&#x20AC;&#x2122;s population originates from India. Our field trip combined underdeveloped rural areas in Gujarat and the extremely diverse and populous Mumbai. We saw fantastic temples, ancient subterranean water buildings, and neighborhoods in and around Ahmedabad; seminal buildings by Kahn, Le Corbusier and Doshi; inspiring craft, textile and print workshops; and an entirely different lifeworld.

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Fig. 17.1 Unit 17 Group Model, mapping the geography of Leicester. Fig. 17.2 Charlotte Page Y4, ‘The Workers’ Yard: Celebrating Industries’. The devolution of power to Leicester starts a bottom-up regeneration wilfully supported by the local government who give incentives that begin the process of a balanced socio-economic approach to development. Fig. 17.3 Lok-Kan Chau Y4, ‘School Reconstruction’. Every autumn, the riverside school is rebuilt by children who learn and play through participation as an architectural homage to birth, growth, decay and death. Fig. 17.4 Seyedeh Tahmineh Hooshyar Emami Y4, ‘Leicester, City of Refuge’. Each developmental stage of the project is marked by creating a paper model of the building, unfolding, drawing and re-folding it to create intricately spatial relationships.

Fig. 17.5 Jiong (Joanne) Chen Y4, ‘St Matthew’s Bridge School’, a nursery and educational centre designed to bring young mothers back to education, training and work. The building bridges the divide between St Matthew’s Estate and the city centre. Fig. 17.6 Sze (Shirley) Tsang Y4, ‘Multi-religion Water Ceremony Institute’. The canal is revitalised by the purification of contaminated water, contributing to water ceremonies of each religion. Water and landscape capture the sense of sacredness of different religions. Fig. 17.7 Antony Lees Y4, ‘Leicester Open Gallery: A Stage for Devolution’, an architecture of unfolding and exploratory spaces within a primitive and readable tectonic language. The internalisation of landscape places and orientates the visitor during their meander.

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Fig. 17.8 Agata Murasko Y4, ‘The Grand Leicester Hotel’. The hotel acts as public transitional space between the train station and city centre, embodying the pleasure of journey. Fig. 17.9 Minghui Ke Y4, ‘Leicester Waterside Student Centre’. The proposal emphasises the footprint of the Great Central Station, the building acts as a hinge between the riverside and city centre. Fig. 17.10 Chenhan Wang Y4, ‘Red Leicester Cheese Market’. The proposal builds on Leicester’s cultural memory, creating a Community Hub which allows visitors to experience the making of cheese. Fig. 17.11 Cherry Beaumont Y4, ‘Magistrates Court within Leicester’s Future Archeological Ruins’. Aluminium is folded into a delicate structure that lightly touches the ground, reflecting both the city above and the ruins beneath. Fig. 17.12 Emily Doll Y5, ‘The Garden of

Assembly: East Midlands Parliament’. The proposal is for a new Regional Assembly building for the East Midlands. The complex is constructed around the individual viewpoint and is designed to be experienced as a visual sequence with the buildings and their gardens variously choosing to conceal and reveal different parts of themselves. The wall surfaces are decorated with frescoes and painted screens that retell the story of the building and its context to the visitor. Politics can be deceptive, and the building willfully deceives: it seeks to separate itself from its direct locality. It exists as a dislocated object, or arrangement of objects, which act to spatially and temporally displace its inhabitants from their context.

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17.14 Figs. 17.13 – 17.14 Justine Dorion Y5, ‘Leicester Commune’. They are coming to Leicester! The race to become the next ‘UK Metro’ has begun, each city rebranding itself to compete on the global market. Never mind devolution, let us have secession: from a state who functions as guard dog of property rights; from an urban fabric tailored for consumption; from an asphyxiating tangle of rules and regulations marginalising the poor. Bring hammers, saws, nails and all the wood you can find. We are building a place for unsolicited activity, unmediated experience, sublime violence and pointless roaming. No need for architects, planners or regulations; no space for profits, property or authority. We call on all citizens to participate in an action to reclaim their right to a wild existence. Fig. 17.15 Chris Worsfold Y5, 218

‘Leicester Council of Faiths’. Leicester will soon become the first city in Europe with a white minority population and rising global tensions make interfaith dialogue a pressing issue. This project brings Leicester Council of Faiths, an existing inter-faith organisation, to the forefront of public life. As cities are given more control over their spending, we see Leicester taking a lead role in promoting dialogue between the faiths at a national and international level. Taking the site of the former county council buildings, the proposal is conceived as an arrival space at the end of the city’s pedestrianised ‘New Walk’. The family of buildings is carefully positioned to provide the city with a significant new public realm that provides an informal space for festival and exchange.

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Figs. 17.16 – 17.18 Heather McVicar Y5, ‘Devo Local: Leicester Gateway’. Today, Leicester is one of the UK’s most ethnically diverse cities. The project proposes that the nationwide concept of ‘devo max’ be extended locally to give greater cultural autonomy and representative status to the diverse communities that reside in the city’s suburban area. Within the context of this newly devolved and less centralised city a new city centre gateway is proposed. Through the combined programme of a city centre bus terminal, a market hall and a cultural centre, Leicester Gateway aims to bring the city’s different communities together as an integral part of their everyday lives and to promote the expression and understanding of their different cultural identities within a shared public space. Fig. 17.19 Jonathan Paley Y5, ‘Fulfilled

by Leicester’. Tech city to tech nation: a proposal for a new retail model on the site of Lee Circle car park. Placed on Leicester’s heritage conservation list in 2014 and built in 1961, it was the first car park of its kind to be automated in Europe and boasted the largest supermarket in the UK. The e-commerce fulfilment process is blended with the car park’s helical structure to deliver a vertical warehouse, creating a synthesis of the city centre marketplace and the automated mechanics of the out-of-town distribution centres. A network of supplier, trader and civic spaces synchronise with the existing structure, enabling the exchange of products, services and knowledge, ensuring Leicester is better represented and more autonomous in the global internet marketplace.

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Unit 18

Materialising the Incomplete Nannette Jackowski, Ricardo de Ostos

Year 4 Anthony Awanis, Yulia Gilbert, Nikolaos Koutroulos, Thomas Reeves, Ran Shu, Man Tai (Adrian) Yiu Year 5 Christina Dahdaleh, Manuel Gonzalez-Nogueira, Kagen Lam, Jingsi (Joyce) Li, Chihoon Seong, Zhiying (Sean) Xu, Liang Zhou

The Bartlett School of Architecture 2015

Thank you to our Design Realisation tutor Anna Woodeson and structural consultant Franck Robert, and workshop tutor Saman Ziaie. Thanks also to our guest critics: Abi Abdolwahabi, Ana Araujo, Kasper Ax, Julia Backhaus, Laura Barbi, Brendon Carlin, Mollie Claypool, Ryan Dillon, Lawrence Friesen, Christine Hawley, Colin Herperger, Carlos Jiménez Cenamor, Manuel Jimenez Garcia, Alice Labourel, Michelle Lam, Ben Masterton-Smith, Anis Munira Kamaruddin, Sebastian Kite, Elke Presser, Yael Reisner, Stefan Rutzinger, Theo Sarantoglou Lalis, Tania Sengupta, Liang Shang, Aris Theodoropoulos, Kaleigh Tirone Nunes, Athanasios Varnavas, Emmanuel Vercruysse, Simon Withers

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Unit 18, or Generational Phantoms, researches concepts of materiality based on non-standard materials and practices studying architecture as a continuous time based economy of solid, immaterial and symbolic medium. Taking Sir John Soane’s Museum as research laboratory for symbolism and ornamentation studies, students started to utilise digital methods of modelling and fabrication to create their own non-standard material palette. The result was volumetric and rich spaces that worked with light, the hidden and other ephemeral qualities. We then journeyed to Havana, Cuba, to study the notion of the incomplete and find project grounds. From affirmations to surprises we discovered a city suffering from the many years of US economic embargo, with most of its heritage in ruins and heavy dependency on tourism. However we also found a resilient local method of living, challenged by a fierce foreign investment bringing large developments into various city areas. Talking to tourist guides, local residents and academics, the students not only absorbed art deco and modernist buildings but also started to imagine their own radical agendas for the future of Havana. Investigating the Colon Cemetery of Havana, its hierarchical layout based on economical and ethical status, and its expanding space struggles in a city which has long overgrown it, Chihoon Seong proposes a new type of necropolis. Taking existing fragments of the Old Wall of Havana he reinterprets its linearity and creates a new non-continuous city of the dead. Cuban burial traditions are re-imagined as cremation rituals using bone china to form a new receptacle for the deceased body. Composed of temporary porcelain workshops transforming into small chapels, an ever-growing grave wall and memory paths for relatives the proposed necropolis is placed amid occupied ruins of the city and simultaneously creates a radical strategy for the preservation of Old Havana. Intrigued by the dichotomy between energy propaganda and DIY methods – in the form of spiderlike webs of informal cables – Kagen Lam’s response is an energy forest that secretly reintroduces a small portion of energy production to the city centre. Amidst a satirical vertical cable net structure lie energy-consuming hotel capsules, a workshop and a theatre space with exquisite vistas and an intricate journey of experiences. For energy performance, the fibrous structure is sprayed with a dust control chemical, a byproduct of energy production from sugar, creating an oozing materiality transitioning the city to a new institution, in an undefined form between forest and building. Between architecture, symbolism and materiality, students took their own positions to debate the role architects have towards memory, performance and the city. Discussing Havana not only by the possible, but also the imaginable, enabled the students to link the ghosts of the past to the generational challenges of a corporate future.

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18.4 Fig. 18.1 Nikolaos Koutroulos Y4, ‘Car Junkyard Museum’. Façade render. Havana will soon be rid of its old vintage cars. A theme-park-like museum aims to revive the presence of those iconic automobiles. Castings of these extinct cars are kit-bashed together creating the façade of the museum. Fig. 18.2 Chihoon Seong Y5, ‘Memento Mori’. Digital fossil prototype with encoded binary codes. Digital codes are materialised and brought to a physical form making use of a shift and lift process. Figs. 18.3 – 18.4 Chihoon Seong Y5, ‘Memento Mori’. Proposal for a radical new burial ground in Havana as a response to the poor conditions at Colon Cemetery bone yard. By radically identifying Old Havana as the new edge of the cemetery the design recreates an urban, but respectful burial ritual and protocol for treating the bones. 224

Using 3D print, bone china and casting methods a series of experiments investigated new burial artefacts in relation to material processes.

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18.6 Fig. 18.5 Zhiying (Sean) Xu Y5, ‘Printing Institute of Re-Press’. Render section. As a fictional reconstruction of Havana’s city wall, the project places social expression, in the form of printing rather than solid division, as departure points for the design. The sectional drawing shows the space behind the façade with various paths for public access, serving as entrance points to reactionary functions like the institute of excuses and the printing walls. Fig. 18.6 Zhiying (Sean) Xu Y5, ‘Printing Institute of Re-Press’. Render. Top view render showing narrow walkways with different spatial junctions portraying engraved walls. The print is engraved with letters on the wall surface accumulating a palimpsest of ideas and opinions. 225

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18.8 Fig. 18.7 Manuel Gonzalez-Nogueira Y5, ‘In ‘Cuba’ting Capitalism; A Socioeconomic Re-Evolution in ‘Contradictionaryland’. By proposing an alternative timeline for Havana’s next urban development, the project speculates on the question ‘what if a particular part of the city turned its back to homogenous international development?’ Anti-wifi areas and elevated buildings orchestrate an alternative environment for a new generation of young Cubans, born and bred between foreign capital and Cuban identity. Fig. 18.8 Manuel Gonzalez-Nogueira Y5, ‘In ‘Cuba’ting Capitalism; A Socioeconomic Re-Evolution in ‘Contradictionaryland’’, Elevation. The new generation will be an important part of the poetry of a Cuban economic independence reinforcing the dependence on the state as a big mother that feeds her 226

children. Fresh fruit juice will be directly produced by the local community and channelled through the structure.

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18.10 Fig. 18.9 Christina Dahdaleh Y5, ‘Processional Decay through Entropic Ruination: From Object to Disintegrated Particles’. Simulation renders exploring ruination patterns through a series of tests using particle systems. The notion of decay is simulated through negative gravitational particle systems employing alternative thresholds, key-frames, emissions speeds and mesh tessellations in order to study the disorder presented in a decaying system. Fig. 18.10 Christina Dahdaleh Y5, ‘Havana Traders Architectural Seed Bank’. Placed in an abandoned theatre, the scheme deals with the implications of lifting the embargo on Cuba and the effects of foreign investment on the urban life of Havana. A perspective view of the seed bank in 200 years, depicting the ascension of the observer through the Architectural Seed Bank as one looks

down at the continuously expanding collection and the trading floor. As long as the brokers continue to trade, the seed bank will continue to collect disappearing architectural relics of present Havana.

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Fig. 18.11 Anthony Awanis Y4, ‘Casting the Ornate’. Sand casted metal ornament made from recycled aluminium. Through the process of (re)making / materialising significant cultural symbolism, the ornament creates an opportunity for the fractured neighbourhood to collaborate on the making process of the ornament itself. Fig. 18.12 Ran Shu Y4, ‘Lighting Library’. Interior render simulating glass and the quality of liquidity and transparency. The materiality of glass, density and thickness affect the light quality of interior space and how it functions. Fig. 18.13 Anthony Awanis Y4, ‘The Theatre of Exchange’. Street view render. Located within a racially segregated community in Havana’s Chinatown, the project aims to create a transition from a mono to a multifunctional gateway, stimulating diverse social interaction. Symbolic

ornamentation is used to formulate a communal identity, while creating a tectonic expression that permeates the existing fabric. Figs. 18.14 – 18.15 Man Tai (Adrian) Yiu Y4, ‘The Guild of Poetry’. Renders. The guild addresses the societal transformation from labour to intellectual in Cuba after the US embargo was lifted. It provides a ground for literary exploration and an international educational exchange programme. The project explores the opportunities of the extreme site conditions; strong waves and salt accumulation together with 3D printing technology create the building elements. The project materialises the collective results of people’s poems and memories as an ever-changing entity.

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18.17 Fig. 18.16 Yulia Gilbert Y4, ‘Ripple of Adaptation’. Diagram exploring structural variation of external building surface in order to create variable light conditions inside the building. Internally the building operates with shifting programmes, being able to adapt to different making workshops. Fig. 18.17 Thomas Reeves Y4, ‘San Nicholas Grand Carpenters Market Revealed’. Render. The San Nicholas Carpenters Market harnesses the skills of local carpenters in the rebuilding process of Central Havana, Cuba. A glulam and timber construction, external timber storage and permeable façades help to make the material source and the technique of the carpenters’ craft visible to the local community.

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18.19 Fig. 18.18 Liang Zhou Y5, ‘Imprisoned Freedom’. Façade study. The project investigates salsa as a dynamic cultural quality of Havana’s lifestyle. The render shows a façade iteration using the complexity of salsa rhythms applied to the building apertures and openings. Colour code and form progression utilised digital systems systematically and intuitionally to generate the final result. Fig. 18.19 Jingsi (Joyce) Li Y5, ‘Food Guildhall Garden of Populace in Havana’. Section investigating urban agriculture as an interactive data display for food security in Havana. By appropriating a derelict site in the city the project repurposes the site into a data landscape utilising kinetic structures and current city know-how on urban agriculture to create a space that functions as both a seasonal meeting place and food production. Fig. 18.20 Kagen Lam Y5, 230

‘Havana Energy Forest’. What if Cuba used energy independence as a new post-socialist propaganda? The absurd quality of political propaganda permeates the design by utilising Havana’s derelict energy grid and DIY cabling system as ornamental language creating a dense ‘forest’ consisting of ventilation pipes, cables, ethanol storage columns and dust control mesh. A mix between an energy container, a hotel and an amphitheatre, the project discusses materiality as a political device.

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Unit 19

Becoming-Ever-Different Mollie Claypool, Manuel Jimenez Garcia

Year 4 Che-Hung (Jasper) Chien, Rania Francis, Elliot Mayer, Sukriye Robinson, Tom Savage, James Tang Year 5 Maria-Cristina Banceanu, Yuan Xing (Lisa) Liu, Yiting Lu, Annabel Monk, Le Lin (Stacy) Peh, Tomas Tvarijonas, David Ward

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Many thanks to our Design Realisation Tutor Manja van de Worp and our Structural Consultant Christian Dercks Thank you to our critics: Robert Aish, Kasper Ax, Isaïe Bloch, Roberto Bottazi, Brendon Carlin, Ryan Dillion, Vidal Fernandez, Evan Greenberg, Kostas Grigoriadis, Christine Hawley, Carlos Jiménez Cenamor, Alice Labourel, Theo Lalis, Guan Lee, Ricardo de Ostos, Christopher Pierce, Gilles Retsin, Rob Stuart-Smith, Bob Sheil, Manolis Stavrakakis, Manijeh Verghese, Daniel Widrig, Zaynab Dena Ziari Special thanks to our Summer Show sponsors RS Components and ABC Imaging

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The world today is the most dense, mobile and temporal it has ever been. As the edge of the so-called ‘city’ continuously grows, shrinks, becomes blurry and undefined, its inhabitants are more likely to need the city to be able to adapt and change with urgency than ever before. It is these conditions that Unit 19 was interested in exploring this year: where the architecture of the city begins and ends, shrinks and expands. Here the user or inhabitant is viewed as a stakeholder that holds agency, acting as a catalyst for architecture that can adapt to changing material, environmental or ecological demands. With this, we embarked into the second year of a design agenda of deployable housing. We pursued living spaces that are ‘becoming-everdifferent’ and have an in-built wildness, that are both multiplicitous and prototypical. Each student began the year identifying a material system, ranging from inflatables to fabric formwork, that they then developed through digital and analogue computational and fabrication methods to be able to react, respond and adapt in time to designed parameters and constraints. Through a steady and rigorous ‘scaling up’ process, the students began to extract a making, material and actuation logic which they then developed into new tectonics for dynamic architectures. The work harks back to the 1960s, 70s and 80s avant-garde experiments in living of Coop Himmelb(l)au, Haus-Rucker-Co and David Greene, to list some, but not all, of our favourite references. Later, this was scaled up again to that of a larger architectural proposition, with Year 4 working at the scale of a prototypical cluster of living spaces while Year 5 developed a making and fabrication logic specific to a wider polemic about inhabiting deployable structures and also related to their theses. This year we travelled to Japan, experiencing diverse and extreme situations in every location we visited – from the peacefulness of Kyoto to the hyper-reality of Tokyo to the recovery-mindset of Sendai and the smooth emptiness of Yokohama. We met with roboticists at the University of Tokyo, architects at the University of Sendai, members of the disaster relief organisation ArchiAID, and several architectural practices such as Kengo Kuma and Japanese design and construction giant Takenaka Corporation. The work of the unit this year is both speculative and critical, responding to fluxing densities of inhabitation in surprising and novel ways. The projects address issues such as natural disasters, fluxing environments and lifecycles, extreme lifestyles and surreal economic and social structures. Through the utilisation of novel digital design and fabrication methods, our work deploys, erects, suspends, hangs, inflates, deflates, ripples, bubbles, is continuous, composite and discrete.

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19.3 Fig. 19.1 David Ward Y5, ‘[Fabric]ated Growth’. Concrete framed structures, and those formed using fabric formwork, typically require heavy modification to allow for new additions and extensions. The intention of this project was to challenge this notion of concrete structures as static monoliths that resist change and explore a new structural system tailored for growth through the production of fabric formed prototypes, with an emphasis on expanding the structural roles of formwork elements. The project is influenced by the additive nature of traditional Japanese housing, proposing a self-build, integrated structural system that is designed to be additive, growing in accordance with occupants’ needs, whilst maintaining structural and spatial continuity and minimising as much disruption to the site and surroudning context as 234

possible. Figs. 19.2 – 19.3 Tomas Tvarijonas Y5, ‘Atectonics’. The project proposes an architecture of fusion rather than assembly, light chemical connections instead of heavy mechanical connections and articulated gradients over discrete and articulated joints. Through the development of an end effector for an industrial robot with three custom plastic extruders, and hacking into the material and making process for 3D printing, the project developed a manufacturing process for a bespoke, highly customisable, inflatable and seamless architecture.

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Fig. 19.4 Annabel Monk Y5, ‘The [Great] Wall of Japan’. The project is a speculative proposal based upon the integration of disaster relief housing and civil engineering strategies along the sea wall in post-tsunami Japan. Following a study trip to Sendai and meeting with the main post-disaster relief organisation, ArchiAid, the scheme aims to critique the existing hard engineering sea wall solutions and hilltop recovery shelters. The notion of disaster; earthquakes, tsunamis and their after effects, is embedded within the life and culture of the country. This scheme is a mythic proposition for the transference of the destructive energy of a tsunami into a positive intervention within coastal cities. Figs. 19.5 – 19.6 Yuan Xing (Lisa) Liu Y5, ‘The Inhabitable Scaffold’. The project looks at providing integrated living for workers that are in the

construction industry for the preparation of the 2020 Olympic Games in Tokyo, Japan. The dispersion of sites in the Tokyo Bay area happens in stages over a five-year period from 2015 to 2020, and is situated near the construction site. It has two different modes: active, in which case the residential site would also be activated with prefabricated capsules attached to a pre-designed scaffold frame, that acts as the circulation and service area for an active site and a viewing platform and as a service area for the Olympics when it is inactive. This design is to serve a purpose even after the workers are no longer in need of it, giving a sense of legacy that is left behind by its prior occupants.

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19.8 Figs. 19.7 – 19.8 Maria-Cristina Banceanu Y5, ‘The Capsule Cloud’. The project is based on deep ornamentation as component driven architecture which employs exoskeletons obtained through shape grammar algorithms. The algorithms are the end result of a research that demonstrates the existence of underlying shape grammars in art nouveau motifs. The project uses exoskeletons in the form of inflatables to implement hostel pods in a heterogeneous aggregation. The intention is to preserve the identity of a historic district in Tokyo by accentuating the duality of the space: above and below, light and dark, new and old, mystery and clarity.

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19.10 Fig. 19.9 Le Lin (Stacy) Peh Y5, ‘A Vending Machine for Living’. The pods are in a deployed and active state throughout the The project explores the potential of combining soft and hard night and are inactive during the day, acting as a pedestrian material systems for the design of a deployable living unit that tunnel, connecting the city in a new layer above ground. is flexible and adaptable. Urban voids in Tokyo, Japan are used as prototypical sites; temporal and low impact. The project proposes a vending machine for living, a new economic model that generates passive income while addressing demands for short-term rental accommodation. Fig. 19.10 Yiting Lu Y5, ‘Urban Breathalyser’. The design revolves around the cultural phenomenon of the night life in Tokyo, Japan. The proposal is hung and stretched in the middle of the largest intersections around the city, acting as a second layer to existing pedestrian pathways. Actuated by air inflation, sleeping and bathing pods are deployed during the night for intoxicated businessmen. 237

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19.12 Figs. 19.11 – 19.12 Elliot Mayer Y4, ‘Pneumaticity’. The project proposes a disaster relief shelter in Tokyo, Japan that facilitates the need for those affected by a future earthquake to utilise the stable communications infrastructure built into the expressways throughout the city. The building design’s function is to remain inactive, as a pedestrian space linking across the major freeways and providing additional access connecting to existing pedestrian networks until an earthquake occurs. When it is activated post-earthquake, it provides a temporary shelter with direct access to internet and telephone lines. This requirement for rapid deployment and flexibility of space has led to a research on inflatable composite structures, evolving the concept of tensairity to develop a soft and hard pneumatic structural system. 238

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19.14 Fig. 19.13 Rania Francis Y4, ‘Waterpods’. The population boom that Tokyo has experienced in the last decades has pushed the city to expand further out. The design intent of the project has been to create flexible housing within the denser business areas of Tokyo to accommodate for the fluctuating population shifts caused by the influx of people traveling into the city for work, tested in this scenario in Omotesando, a district with a dense high street of office skyscrapers and behind it, a low-level neighbourhood of domestic buildings. By inhabiting the negative space between the high-rise offices and domestic buildings, the project can expand and contract over time according to demand. The flexibility of the units arises from the concept of soft ergonomics that is implemented by the use of furniture made up of water harvested from local

rain, the daily lifecycle of the users of the pods and their water consumption. Fig. 19.14 James Tang Y4, ‘Pop-up Hotel’. The project proposes short-term living capsules located within Tokyo’s busy Shibuya station, providing a short-stay amenity to the users of an existing network of transport, entertainment, food and toilet facilities. It provides resting spaces required by businesspeople working in Shibuya, commuters in transit as well as tourists shopping and sightseeing in the area. The lightweight material system of bent PVC pipes layered with flexible textile membrane allow quick and easy deployment to suit varied needs of the users. The ‘pop-up’ capsules stored within the ceiling space are only deployed when needed, and connected together to form larger inhabitation spaces when required by users of the capsules. 239

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19.17 Figs. 19.15 – 19.16 Tom Savage Y4, ‘Inflate[w]orks’. The project aims to solve issues of temporal space in rapidly changing dense urban areas. It is located in Tokyo, one of the most densely populated cities on earth, with inhabitants that aspire to build their own brand new personalised detached homes, often at any cost, leaving large parts of the cities many housing blocks with leftover and unusable space. The proposal is a new fabrication technique capable of erection in tight site parameters and geometries that can traverse the odd shaped plots left over by rapid detached home building, and, if need be, expand into further plots as they become vacant. The project developed an inflatable balloon casting system which cuts down significantly on required formwork for casting of structural and non-structural elements of the building. 240

Fig.19.17 Sukriye Robinson Y4, ‘Gelatin Retreat’. The project is formed of an embryological cluster of capsules made of custom novel building materials developed this year in the unit. Located on the harsh landscape of Mount Fuji, the project offers refuge to climbers and hikers all year round. The material strategy of the building is intensely site-specific as the cold climate is perfect to set the newly developed gelatin compound, with body heat of extreme weather enthusiasts warming the interior and softening the hard beds into soft jelly pillows. The summer weather transforms the project as it becomes softer and more tactile, its density and material behaviour helping to control the interior environment of the proposal. Fabricated entirely of soft, gelatin-based materials, a cable network anchors and suspends the mass to the

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19.18 volcanic crater. The bright colours and the tactile surfaces provoke a sense of adventure and exploration that contribute towards the overall experience of the sacred mountain. Fig. 19.18 Che Hung (Jasper) Chien Y4, â&#x20AC;&#x2DC;Curve-folded Livingâ&#x20AC;&#x2122;. This project proposed the idea of curve-folding flat aluminum sheet into 3D building components and casting formwork to build lightweight capsules that can float along the coastline on Tokyo Bay. The figure of the capsule has three different material textures weaving together: concrete, aluminum, and inflated ETFE panels. These floating capsules are connected by a designed pier system that provides public space along the shore of Tokyo Bay, a programme currently not actively available in Tokyo. Both the capsules and the pier system are composed by custom geometric specific modules

that were developed through a research into curve-folding that allow them to be reconfigured into different plan shapes in order to fit the changing urban context. Additionally the project speculates on the use of curve folding and casting to provide structural retention, reinventing traditional construction methods of retention in water.

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Unit 20

Incredible India Richard Beckett, Marjan Colletti, Marcos Cruz

Year 4 Daniel Coley, Andreas Körner, Panagiota Kotsovinou, James Mills, Firas Saad, Jia Jian Saw, Selina Yau, Vincent Yeung, Wai Yin (Vivian) Wong Year 5 Shi Qi An, María Esteban-Casañas, Jianze (Arthur) Hao, Wiktor Kidziak, Jonathan Wilson

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We wish to thank Justin Nicholls and Maria Villafane for their amazing contribution to the Year 4 Design Realisation project. Thanks to our critics: Moyez Alwani, Isaïe Bloch, Roberto Bottazzi, Andy Bow, David Edwards, Dirk Krolikowski, François Mangion, Andrei Martin, Justin Nicholls, James O’Leary, Joanna Pawlas, Michael Pelken, Alexandrina Rizova, Bob Sheil, Theo Spyropoulous, Vasilena Vassilev, Maria Eugenia Villafañe, Sam Welham, Seda Zirek

The design research of the unit this year was focused on one of the most incredible places on Earth, India. With its amazingly diverse culture and history, deep spiritual dimension, social richness, as well as extraordinary landscapes, it forms a subcontinent in its own right. India is growing and changing at a phenomenal pace, yet maintains great economic and infrastructural disparities. For example, medical facilities range from non-existent in rural areas to world-class in some cities and still only 60% of homes have toilets, whilst Bihar State authorities have unveiled a model of the world’s largest Hindu temple. Similarly, the very latest machinery and IT skills may be used in some construction projects, whereby most workers do without mechanisation on construction sites. Around 16% of the nation’s working population depends on construction for its livelihood. Additionally, increasingly extreme weather conditions are affecting India’s climate, which is leading to regular droughts and floods on unprecedented scale. Not only India, but also the world by and large is becoming more and more extreme and overpopulated, leading to unparalleled contrasts, scales and complexity, especially in what concerns our beliefs, habits and technological capabilities. In this context, Unit 20 explored various notions of ‘crowding’ as a phenomenon of our time: density as a fact; agglomeration as a strategy; flocking as a dynamic system; swarming as agent-based organisation; clustering as planning; large mass as a fluid dynamics; piling as vertical fields, and so on, towards the articulation of liminal geometries, radical materiality, extreme reality and awesome beauty. We explored: Liminal geometries – relating to a transitional process, occupying a position on both sides of a geometric boundary or threshold Radical materiality – revolutionary and progressive, reforming and revisionist materials Extreme realities – ultimate conditions, severe agendas, acute situations, remotest places Awesome beauty – breathtaking, stunning, stupendous, staggering, extraordinary, incredible, magnificent cities and landscapes

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20.5 Fig. 20.1 Panagiota Kotsovinou Y4, ‘Pushkar Municipal Theatre’, Pushkar, India. Numerically controlled erosion processes reinterpret traditional jaali screens, focusing on the distribution of tectonic weight, porosity and transparency. Sandstone blocks are clustered and agglomerated into vaults, paying homage to India’s corbelled vault tradition. Fig. 20.2 Andreas Körner Y4, ‘Crowded Fields’, India. Formal and spatial investigation on crowded fields result in the design of a new transportation hub for Pushkar that links the linear flow of the railway with the chaotic crowd of the fairground and India’s biggest camel fair. Fig. 20.3 Wai Yin (Vivian) Wong Y4, ‘Mudras Columns’, India. Early crowd investigations result from the study of Indian hand gestures – mudras. Fig. 20.4 Jia Jian Saw Y4, ‘Dancing Catenaries’. Studies of digital cloth 244

simulations. Fig. 20.5 Daniel Coley Y4, ‘Ritual and Edifice’, Pushkar, India. The project merges novel construction systems with the traditions of the cremation ritual and pre-modern typologies. Fig. 20.6 María Esteban-Casañas Y5, ‘An Architecture of Pendant Drops’, Neasden, London. Ornamental roof studies for a new Sikh Temple where geometric permutations result from a process of abstraction of sacred iconography and patterns.

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20.8 Fig. 20.7 Selina Yau Y4, ‘The Garden of Ephemera’, Pushkar, India. Digital plaster cast vessels exploring intricacy and fragility, and the hybrid transition between 2D lines and 3D floral cellular patterns. Fig. 20.8 Jia Jian Saw Y4, ‘Silk Cultivation Centre’, Pushkar, India. Ornamental structures informed by fabric simulations. Fig. 20.9 Firas Saad Y4, ‘Audio-waveform Morphologies’, Pushkar, India. Sound input is investigated as a mechanism for digital crowding resulting in complex waveform audio morphologies.

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20.11 Fig. 20.10 Wiktor Kidziak Y5, ‘An Architecture of Porous Ceramic’. Jaipur, India. 1:100 model made of partly glazed slip cast terracotta forms, 3D printed components with a bespoke terracotta/PLA filament, and translucent SLA resin prototypes. The ambition is to revitalise the use of ceramic as a building material aided by the emerging rapid prototyping tools and technologies. Fig. 20.11 Wiktor Kidziak Y5, ‘Digital Terracotta’, Jaipur, India. A series of 1:1 digitally crafted terracotta prototypes of hollow and lightweight façade modules explore degrees of porosity in accordance to different parameters, such as temperature, surface finishing and slip properties.

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20.12 Figs. 20.12 – 20.13 Jonathan Wilson Y5, ‘Ramlila Maidan Festival and Protest Ground’, New Delhi, India. The project is centred on the subject of crowds, human mobility and the occupation of space. Agent-based modelling is used to simulate crowds of people, using over a hundred thousand individual autonomous agents, each with unique behavioural and physical characteristics to aid the design and optimisation process of the festival ground, public building, urban interface and the infrastructural interventions on the site.

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20.17 Fig. 20.14 Wai Yin (Vivian) Wong Y4, ‘Yoga and Dance Health Club for Women’, Pushkar, India. The five elements of Panchabuta – Fire, Water, Earth, Air and Ether – are associated to the five fingers of the hand and used to develop a new ornamental language of various mudras forms. The building is designed specifically for women to perform yoga, dance and meditation. Fig. 20.15 Shi Qi An Y5, ‘Environmental Geometries: Buddhist Academic College’, Sichuan, China. Genetic algorithms are utilised to design an augment the relationship between environment and geometry, more specifically the creation of phonetic spaces, specific to Buddhist rituals and chants. Fig. 20.16 Vincent Yeung Y4, ‘Pushkar Stargazing Centre’, Pushkar, India. A juxtaposition of scientific astronomic research and religious Hindu spiritual 250

practices determines the design of a new cosmological centre on the hills of Pushkar. Fig. 20.17 Andreas Körner Y4, ‘Pushkar Hub’, Pushkar, India. Two folding structures of the new train terminal are juxtaposed in order to create undulating higher and lower densities in-between, resulting in a grand canopy to shelter humans and animals during the annual camel fair.

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20.19 Fig. 20.18 James Mills Y4, ‘A Rejuvenation Of Pushkar Lake’, Pushkar, India. The project of a viewing tower and water filtration plant reinterprets ‘Ksiri Sagara’, a story of religious Hindu cosmology, and the abstraction of its embedded ontological process as a strategy to rejuvenate the holy pilgrimage lake of Pushkar. Fig. 20.19 Jianze (Arthur) Hao Y5, ‘Zen Buddhist Practice Centre’, Zhengzhou, China. The project reinterprets traditional Buddhist Chinese architectural principles within the context of the contemporary Chinese city. The masterplan situates the Buddhist practice centre within a large urban park for the citizen to practice and experience the traditional values of Buddhism.

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Unit 21

Ambiguous Territories Abigail Ashton, Andrew Porter

Year 4 Marianna Filippou, Layal Merhi, Fernanda Mugnaini, Sophie Richards, Samson Simberg, Angeline Wee, Sarish Younis Year 5 Jamie Lilley, Calum Macdonald, William Molho, Jens Kongstad Olsen, Francesca Pringle, Charlotte Reynolds, James Simcock The Bartlett School of Architecture 2015

Thanks to our practice tutor Tom Holberton and engineer Brain Eckersley. Thank you to our critics: Rachel Cruise, Stephen Gage, Christine Hawley, Paul Legon, Frédéric Migayrou, Ned Scott, Bob Sheil, Emma Spierin A massive thank you to Rhys Cannon and Gruff Architects for use of their CNC equipment We are grateful to our sponsors, Pringle Brandon Perkins + Will

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Unit 21 has recently looked at cities that both border the edge of Europe – Istanbul and Tangiers – as well as cities that are very much at the heart of Europe such as Berlin, Copenhagen and London. This year, we chose to look at two cities – London and Helsinki. Helsinki is very much at the edge of Europe. After Reykjavic, it is the second most northerly capital city in the world, at the edge of the beginning of the northern tundra and the transition from predominantly farmland to forest. Finland only joined the European Union in 1995. Although they were already members of the European Free Trade Association this accession effectively ended their neutral status during the cold war period. Whilst membership of the EU is only one measure of what being part of Europe might mean, it is clear that Finland has had a very different history from the classically Romanesque countries. Indeed, up until 1917 Finland was for 108 years formally part of Russia and before that a Swedish territory. Tensions with Russia inevitably still remain and in recent years the Russian government has made very strong threats to discourage Finland from joining the NATO alliance. Russian influence is very much in evidence through the historic architecture of Helsinki. It is this Russian and Scandinavian history that still puts Finland very much, despite its recent joining of the EU, on the edge of Europe. This condition of tension, defined by being on a political, geographic and climatic edge, has preoccupied the unit this year. We looked at the context of the city as not just a location for architecture but to utilise the layers of history, political structures, population, ecology and information networks as the motivators for the production of new architectural space. We considered emerging urban digital realms, typically defined by datascapes and invisible networks such as social media, which already organise and define new space and behaviours in the city.

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Fig. 21.1 Jamie Lilley Y5, ‘A Masterplan for the Helsinki Metropolitan Area Assembly’ The project explores cartography’s influence on urban form. Helsinki has a rich cartographic heritage and has been born out of political control constructs that have descended from the map. The project explores the physical, social and digital map of the city to discover how these inputs can influence how we masterplan and construct our buildings. A cartographic paradigm was formed to show the cyclical relationship between reality, cartography, architecture and a reconstruction of reality. The proposal employs three historical sociopolitical grid systems that align with the city to construct the assembly masterplan programme. The three grids highlights the hypothesis that the way we map our cities influences how

we plan their futures. Figs. 21.2 – 21.6 Charlotte Reynolds Y5, ‘Uusi Kallio Common and Urban Quarry, Helsinki’. was inspired by the unique geological composition of Finland which has been experiencing continental uplift since the last Ice Age whereby the land is rising up from the sea by 11mm each year. The project is sited in the city of Helsinki, which sits on a rising granite bedrock. The proposal is for the development of a large existing granite outcrop to the north of the city in the rock district of Kallio. Kallio Common establishes a new attitude towards these sites which define the rock district and develop an attitude to these sites whereby the raw granite is exploited as a building material. Through a series of CNC-routed modelling techniques, a taxonomy of cutting and finishing resolutions were developed in line with known subtractive

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21.6 granite quarrying and finishing processes. The project exists at various resolutions and could be infinitely reworked and refined over time to develop a site which is dedicated to this natural resource of the city and attracts locals and tourists alike. The Uusi Kallio Common sets a precedent for future development and urban densification in Helsinki by exploiting this under-used material in the Finnish architectural vernacular to date.

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21.9 Figs. 21.7 – 21.10 Jens Kongstad Olsen Y5, ‘Hernesaari Snow Dumping Park’. The Hernesaari Snow Dumping Park, located in Helsinki, is a combination of a hard piece of practical city infrastructure and a leisure facility. During the harsh winters the park stores large amounts of snow, which has been collected and cleared from the city’s streets. This snow is then in turn used to augment, alter and construct a series of possible events and structures. Each year the park can take on a new constellation and contain different programmes – all bound to the temporal nature of snow. During the warmer summer months the melted snow creates a dramatically different set of options as the landscape shifts from solid to liquid in a hyper-saturated reflection of the Finnish climate. 256

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Figs. 21.11 â&#x20AC;&#x201C; 21.12 William Molho Y5, â&#x20AC;&#x2DC;City of Edges: Helsinki dramatic and evolving backdrop to a number of stages and an Quarried Theatreâ&#x20AC;&#x2122;. Helsinki granite bedrock has been widely opportunity to expand the performance spaces when the relied on for excavated and underground structures over the water freezes. last century. Across the city, exposed, raw rock outcrops, act as natural public spaces. The project, at an urban scale, looks at visible granite patches around the peninsula, incorporating an interest for the new machining technologies for granite, to create a network of extracting and designing facilities. The theatre project, based on Harakka island is inspired by the monumentality of abandoned stone quarries. In a first step, a quarry is used to provide material for the workshops. Secondly, the theatre design elements (seating, stages, lobby and bar) are carved into the stone and finally, the furniture elements of the theatre are built in the island workshops. The sea creates a 257

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21.13 Fig. 21.13 James Simcock Y5, ‘Museum of Inventing Memory’. Our memories are often affected by distorting forces such as the media, political leaders or trauma. The project investigates the World War II Russian bombing raids on Helsinki, spatially translating evidence forensically extracted from wartime photography archives and historical bomb plot maps into a series of architectural mnemonic devices that together form a museum memorialising the Finnish victims. By using objective forensic techniques the museum allows observers to narrate the conflict events with an impersonal neutrality, enabling them to form a narrative untouched by distorting forces, allowing visitors to resist the fragility of remembering. Fig. 21.14 Calum Macdonald Y5, ‘Exceptive Laws’ seeks to reconceptualise architectural legacy in Finland by (re) 258

contextualising Finnish architectural development from 1917-2015 within its legislative, cultural, historical, corporeal, linguistic, and corporate conditions of the time. It continually rethinks what the role of the architect and architecture at large is within the notion of the sovereign. The underlying theme was to challenge traditional pre-juristic historical and theoretical lines of argument centred on nature, site, and environment, and expose them to the more systematic and enduring forces of modernism, which transformed Finland throughout the 20 th century. By using bio-political argumentation, that is, a complex system of analysis of state power with explicit regard to the body, it sets to survey, analyse, and propose novel ways of understanding the oversimplified geopolitical relationships between people,

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land and architecture by honing in on the cultural, legislative, and spatial idiosyncrasies of the Finnish constitution. Fig. 21.15 Sarish Younis Y4, ‘Barbican Playhouse’. The Barbican Playhouse is an expression of moments, illusion, movement and order. It holds performances which capture the essence of these moments in performance and programmatic format. Puppetry is a performance type that gives an illusion of life in something that is far from it. Such illusion is only achieved through how the puppets are ordered and mechanised in to capture movement that gives a sense of life. The Barbican Playhouse is a platform which not only holds performances at different scales, but also creates a space that reveals the making of performer’s puppetry. This gives the public deeper understanding of what lie behind the doors of a Playhouse.

Fig. 21.16 Francesca Pringle Y5, ‘Reinventing Winter in Helsinki’. Due to Helsinki’s location, summer days are long with up to 19 and a half hours of daylight. Helsinkiers spend the summer island hopping in the archipelago south of Helsinki. However, for four months of the year the archipelago freezes over making the islands inaccessible and there are as few as six hours of daylight. Much of the outdoor culture lies dormant. The project aims to interject a new masterplan in to Helsinki, creating 33 catalyst zones which provide high salinity, non freezing waters for water sports and synthetic day lighting zones. The architectural strategy of the catalyst zones was generated by manipulating ice profile data from the Baltic Sea into 3D forms using a geometry translation system and 3D scanning to generate the building façades. 259

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21.19 Fig. 21.17 Marianna Filippou Y4, ‘Constructed Microclimates’. The project originates from the circulation patterns of commuters and their response to different weather conditions. A water harvesting system, stepped landscape at platform level and a forest of columns which fill the platform and direct circulation are included. The proposed building will control extreme humidity levels and use harvested water to produce steam as an ephemeral material, enclosed within steam rooms, where commuters can benefit from its healing qualities. Fig. 21.18 Sophie Richards Y4, ‘A Political Enclave’. Inspired by 15th century coffee houses, the proposal looks to create a political hub, investigating the role of sound within political systems, creating an illusion of transparency and equality through an architecture that is descriptive of sound, which can 260

encourage and manipulate debate. Fig. 21.19 Angeline Wee Y4, ‘The Offline Park’. The proposal responds to the superstylised imagery and language of the Metropolitan Railway’s ‘Metro-land’ housing campaign which sold suburban London as healthy, ‘rural’ and ideal for the dream lifestyle, but its centre as cramped and ‘urban’. This project aims to subvert these understandings of ‘rural’ and ‘urban’. The inflated landscape of the Offline Park is suspended over the Barbican platforms forming an idyllic country escape within the centre of the city and returning the Barbican to ‘rural’ arcadia. Fig. 21.20 Jamie Lilley Y5, ‘A Masterplan for the Helsinki Metropolitan Area Assembly’.

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Unit 22

Empowering the Legacy of Generation Z Izaskun Chinchilla Moreno, Carlos Jiménez Cenamor

Year 4 Ana Alonso Albarrarín, Ruben Everett, Max Friedlander, Hao Han, Lily Papadopoulos, Oliver Partington, Li Wang, Shuo Yang, Tae-In (Timmy) Yoon, Nawanwaj Yudhanahas Year 5 Xiao Ying Li, Jiao Peng, Sirisan Nivatvongs, Joshua Thomas

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We would like to thank Pedro Gil, practice tutor, and Roberto Marín, structural consultant, for their incredible work. This year would have not been the same without the wisdom and expertise of the team of critics joining us: Julia Backhaus, Adriana Cabello, Rut Cuenca, Max Dewdney, Maria Elvira Dieppe, Ursula Orsaila Dimitriou, Marta Grinda, Sally Hart, Christine Hawley, Gonzalo Herrero Delicado, Nannette Jackowski, Jan Kattein, Fani Kostourou, Alice Labourel, Chee-Kit Lai, Ricardo de Ostos, Yael Reisner, Tania Sengupta, Bob Sheil, Sally Anne Stanton, Manijeh Verghese, Paolo Zaide We would like to express our enormous gratitude to our sponsors Luis Vidal + Architects and our partners Universidad Veritas, Costa Rica

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‘Generation Z’ refers to the children born between 2000 and today. This year, Unit 22 attempted to increase the rights of this community as citizens and to augment its urban legacy. The notion that design can empower community is fundamental for the unit and has allowed our students to build networks with existing institutions, researchers and designers from different disciplines. Empowerment is about making people live better and have more rights both individually and as a community. Our approach to empowerment expands in a double action: Extending benefits beyond target users In most traditional school design projects, only teachers, students and some parents would enjoy good design. What would happen if a school was built as a high street or as a botanic garden? Then local shops, elderly neighbours or universities would start being empowered by design. Designing potential heritage buildings of the future This forces our students to explore how an architectural design can condense the identity of a place and of a generation in a unique and memorable way. We are conscious that associating heritage architecture with singularity might be a controversial intellectual exercise, but we state that buildings kept as common legacy always contain an element of uniqueness. The brief for the year also contained strong political statements. We wanted our students to protest about how cities have become places which privilege drivers and compromise children’s physical integrity, denying them the right to play, walk, cycle, or exercise safely. We also reacted against the fact that marketing views children merely as potential future consumers when, we propose, they should be seen as builders of new jobs, new institutions and new spaces. For both pedagogical and environmental reasons we invited our students to learn from existing complex and industrial objects: they had to reassemble, reinforce, recycle and reuse. We aimed to prepare our students for a future in which there will no longer be vacant places – all plots will have valuable preexistences – and we encouraged them to reflect on how to practice in a world that is already full of objects that are no longer useful. We have transformed bicycle wheels with covers and forced cloth lines to double their structural capacity. Our approach to technique is therefore pedagogically inductive and adopts a cradle-to-cradle creative logic.

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0.0 22.4 Fig. 22.1 Sirisan Nivatvongs Y5, ‘Integral Human & Sustainable Development District’. The project focuses on the social and environmental vulnerability of Klong Toey’s Generation Z and considers the possibilities of self-empowerment by the cultivation of new skills brought about by a series of architectural interventions that ultimately leads to the invigoration of the community. The active research methodology for this project is documented extensively in the thesis, which comprised of a two-day workshop with Klong Toey children to promote environmental education through participatory and child friendly practices. Figs. 22.2 – 22.3 Lily Papadopoulos Y4, ‘An Urban Orchestra’. The proposal aims to implement the qualities of ‘musical play’ into the wounded landscape of the divided city of Nicosia. Improvised and formal 264

orchestral compositions act as tools of reconciliation for this territory in conflict. A special thanks to the UCL Electrical Engineering department for allowing me to perform an acoustical test. Fig. 22.4 Xiao Ying Lin Y5, ‘You Are What You Eat’. The project looks to empower the legacy of Generation Z through re-establishing connections with traditional Chinese food. Sited in Suzhou, China, the architecture is designed as a series of large devices allowing the children to investigate the tradition methods of food production, the importance of quality and the historical significance of food in their urban context through entirely active means.

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0.0 22.7 Figs. 22.5 – 22.7 ‘1:1 Building Workshop’. In December, Unit 22 travelled to Costa Rica to take part in an intensive 5-day design and fabrication workshop with Vertias University in San Jose. During the week the collective worked together to build two 1:1 devices and spaces to empower the students at the University.

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Figs. 22.8 – 22.9 Oliver Partington Y4, ‘Contextualised Learning on the Thames’. The proposal creates a new educational landscape that focuses on providing real, lived experiences. Conceived as an entirely public entity the collection of workshops, gardens, classrooms, sports facilities and public spaces move up and down the river using the city as its extended classroom and reconnecting the city for a younger generation. The project aims to empower the wider urban context by reconnecting the North and South banks, celebrating the creative output of the workshops and reestablishing an engaging relationship with the water. Figs. 22.10 – 22.11 Tae-in (Timmy) Yoon Y4, ‘Vauxhall Pleasure Gardens’. This project proposes to regenerate the Vauxhall Pleasure Gardens as a space for children of this generation

to engage with nature in order to bridge the gap between their concern and knowledge of the natural environment. Within the Botanical Laboratory, children are encouraged to participate in the plant growing process in a playful way most conducive to their learning.

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22.13 Figs. 22.12 – 22.13 Joshua Thomas Y5, ‘Harrow Building consistent dialogue with local government to support the Exchange’. The Exchange explores an alternative system effective devolution of funding from centralised bodies such of education and local governance. It focuses on the as the Greater London Council (GLC). dissemination of knowledge, responsibilities and skills to younger generations through a framework which allows children to interact with and influence the creation of social, spatial and economic structures in a local region. The exchange takes an optimistic view of the results that this social reconditioning might produce. Compassion advanced through participatory design and construction is seen to aid an agonistic conflict, which helps to curtail the effects of inequality and social-spatial polarisation in London. Local residents are granted the agency required to create equitable sustainable development in their local borough by acting in 267

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Figs. 22.14 – 22.15 Li Wang Y4, ‘Indoor Study’. Indoor study focuses on updating the habitable space for Generation Z by composing an indoor conditioned field that exceeds an architectural scale, yet is filled with minimum daily essentials that is less than a space in scale. Through the disappearance of architectural scale, the linkage between private and public becomes more permeable and extreme, so that the virtual world and the physical world of Generation Z meet. Figs. 22.16 – 22.17 Ana Alonso Albarracín Y4, ‘Children’s Urban Theatre’. This intervention seeks to bring Generation Z children out to the streets, and empower them to stand up as active citizens by giving them a voice of their own through theatrical performances on mobile stages. The project tackles current debates regarding children and gender, and urban regeneration

strategies on the site in Madrid. Fig. 22.18 Jiao Peng Y5, ‘Children’s Time Project: Less Commuting Time, More Fun Times for the children in Beijing’. This project proposes to reduce children’s commuting time in Beijing through new educational and residential environments. The proposal consists of two main elements, A Tutorial Bus that provides study spaces for children while they commute across the city and a series of new towers that look to provide study and residential spaces for families closer to their school districts.

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Fig. 22.19 Nawanwaj Yudhanahas Y4, ‘Baan Krua Silk Weaving School’, Bangkok, Thailand. Over consumption of digital technology among young children leads to many development problems, including short attention span, a lack of interpersonal skills and a lack of inter-generational relationships. The proposal is a silk weaving school located next to an existing old silk weaving community. The architecture learns from vernacular knowledge including the structure and joints of weaving looms. Silk weaving process is revisited to make traditional crafts more interesting for Generation Zs. Time consuming crafts, such as silk-weaving, increase children’s attention span and the Baan Krua residents become the grandparents whom Generation Z can learn from, and who also learn from Generation Z.

Figs. 22.20 – 22.21 Shou Yang Y4, ‘The Interdisciplinary Centre’, Euston 2025. The new working environment and public interface is proposed in the roof of Euston Station providing flexible working space for future professionals of Generation Z. This architecture is created through a collection of small tectonic fragments which play on the plug-in nature of the future working environment. The dynamic construction system also allows the space to evolve and adapt to the ever changing needs of Generation Z. The research for the project was developed through 1:6 models and prototypes which investigated the relationship between the ‘plug in tectonic fragments’ and the existing station room structure.

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Fig. 22.22 Hao Han Y4, ‘Community Tinkering Garden’. This scheme is a celebration of the physical, experimental and haptic aspects of a child’s learning. A largely self-built construction, the building places particular emphasis on communal and family-oriented engagements; thus engaging various sectors, age groups and skill sets with equal prominence. Prefabricated and bespoke frames are juxtaposed with the handcrafted, fluctuating infills created by children. Fig. 22.23 Max Friedlander Y4, ‘San José Botanical Garden’. This pavilion provides learning spaces focused on the possibilities of algae cultivation. The algae is grown in synthetic ‘leaves’ and then extracted to be allocated to various uses such as energy production, water purification and dye making.

Fig. 22.24 Ruben Everett Y4, ‘Experimental Music School’. External view showing the façade of the faculty of music. Opening up the faculty of music and reusing elements of the existing condition were key in developing a renovation strategy for the school. This image shows key elements of the façade that have been moved and manipulated in various ways. The image draws focus to the opening façade of the auditorium, which is designed to move in order to open and close the auditorium to the elements. This opening allows for the building to adapt its sonic scape depending on the needs of the musician or performance.

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Unit 23

Nocturnal Science Colin Herperger, Emmanuel Vercruysse

Year 4 Michael Arnett, Amy Begg, Mohammed Hassan Jubri, Flavie Karoukis, Wynne Leung, Luke Lupton, Julian Siravo Year 5 Luke Bowler, Nicholas Debruyne, Gary Edwards, Gregor Gregorov, Greg Storrar, Glenn Wooldridge, Liang Zhang The Bartlett School of Architecture 2015

Thank you to our Design Realisation tutor, Ralph Parker. Thanks to our guest critics: Matthew Butcher, Nat Chard, Kate Davies, Stephen Gage, Chris Leung, CJ Lim, Olga Linardou, Shaun Murray, Juan Oyarbide, Frederik Petersen, Frosso Pimenides, Felipe Rilling, Matt Shaw, Bob Sheil, Graeme Williamson, Simon Withers. Special thanks to ScanLAB Projects, B-made and Thomas Pearce

Nocturnal Science complements the orderly steps of logic by overlapping the verifiable with the intuitive principles of the mysterious and confused zones of our reality.1 It is by logic that we prove, but by intuition that we discover. To know how to criticise is good, to know how to create is better.2 In Unit 23, a rebellious irreverence towards the tools we deploy allows independent and curious designers to question the working methods of the architect and develop individual methods of practice outside the familiar and comfortable. The evolution of the unit as a design laboratory continues to place a strong emphasis on the exploration of ideas through making and physical production. These prototypes allow for rigorous testing, design iteration and tactile investigations, exploring the material and spatial consequences of our speculative inventions. We have a close relationship with The Bartlett’s workshops. The unit’s proud tradition of experimentation and our wealth of expertise with cutting-edge technology as well as traditional methods and craft, enables us to utilise a uniquely broad range of tools and methods of production. The work evolves between the workshop and the studio, questioning how the act of making itself informs and re-informs its own evolution; how process can lead; and how the hand can inform the imagination. Fundamental to these principles, the studio welcomes experiments that hold broader implications for architecture as well as the challenge in hand. Unit 23 works within a physically challenging context to develop our architectural positions. We ask students to consider what is sensed beyond the known, employing the rich potential of tacit knowledge in order to develop research questions from intuitive physical constructions and in direct contact with the material realm. We are an experimental studio that encourages intuition and assists each student to develop his or her own research. Project one, ‘Surgical Operations’, identified the fertile ground for the subject matter that each student developed throughout the year, while the building project, ‘The Dysfunctional House’, translates this research into an architectural proposal. The sites for this year’s work are set within the inspiring landscapes of central Chile. Our sites are not polite patches of ground to serve as plinths for our architecture, but are fluid – at the mercy of wind, altitude and the ocean – and our architectural moves engage in this rough and tumble. These extraordinary places became testing grounds where precise and colourful inventions – domestic and technological – successfully negotiate extreme site conditions. 1 François Jacob 2 Henri Poincaré

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Fig. 23.1 Gary Edwards Y5, ‘Code of Conflict: Bathing in Light’. The hacker controls and tailors his environment through the typing of his fingers. His ultimate challenge is to hack the act of bathing, the last bastion of the disobedient physical world. A virtual voyeur is installed, from any other viewpoint then this privileged, anamorphic location, everything is distorted. The bather hides in the glitches and shadows provided by the moving elements, all are nodes on a timeline allowing for perfect synchronisation. As physical and technical limitations are solved, they dissolve into the setup. What emerges is the pure theatre of the construct, the actors and actions invented by the hacker. The conflicts and collision between them and their environment are in the end no more than the hacker’s own inner conflicts. Figs. 23.2 – 23.4 Amy Begg Y4, ‘Tailored

Prototype for a Carpenter’s House’, Andes Mountains, Chile, sewn plywood model. The project moves between the worlds of tailoring, leather craft and carpentry to explore the tailor’s pattern as a design tool. The final layered, sewn and steam-bent plywood constructions are formed through a process of adaption and fitting, where highly controlled points of connection, as well as areas of softening, strengthening and tightening, all transform the flat pattern pieces into the final articulated forms.

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Figs. 23.5 – 23.7 Greg Storrar, Y5, ‘The Hydrographer’s House’. The intrepid experimentalist relies on instruments to enable enhanced observation. These instruments are devices of the dramatic. They construct spaces within which the human observer can seamlessly move between scales, terrains, and time frames. In this experiment architecture, the body is a malleable territory, neither here nor there. The work develops through the design and fabrication of observational instruments. Early devices include a camera rig that compensates for the rotation of the earth, and an apparatus that captures time-jumps in large earthquakes. Emerging from these early fabrications, the Hydrographer’s House is an architectural proposition that explores the material and immaterial spaces of the experiment. The house exists

both upon the edge of a water tank in a subterranean laboratory, and on the edge of a cliff overlooking the boundless ocean. The architecture both contains, and is contained, by the experiment. The field is a synecdoche within the false field, built around the mechanical eyes of the camera and the gauge. The house is an elaborate construction of visual and performative similitude, enabling the displaced observer to inhabit the real ocean through the framed views of the staged experiment. The architecture that emerges is a composition of frames and allusions. It is strange and idiosyncratic, sensible and supersensible, real and hyperreal.

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0.0 23.9 Fig. 23.8 Luke Bowler Y5, ‘Two Houses for a Game of Chess’. moment at sunset as the house prepares itself prior to the Mixed media drawing. The drawing of the two houses is start of the performance. generated through conflict. As the houses are host to a game of chess, they too are designed by applying the principles of the game. The architectural move or decision made on one house forces a counter move on the other. This counter move adjusts, scales, or mirrors the architecture to suit its own needs. This results in a hybridised architecture with dual specificities. The houses are simultaneously specific to their own surroundings and a foreign context, generating an environment for the game of chess to be played. Fig. 23.9 Liang Zhang Y5, ‘Transformer - Dysfunctional Architecture - Magician’s House’. Perspective view from underneath the transformable architecture depicting the 276

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23.12 Fig. 23.10 Gregor Gregorov Y5, ‘Observing Through the Architecture of Absence’. Within the contemplative landscape, an opening is cut through the ground and aligned to a church in Valparaiso, visually isolating it from its immediate context. The absence of the remaining cityscape is a conscious experience for the viewer as they stand in a precisely designed observation space, buried in a deep void into the ground. Fig. 23.11 Gregor Gregorov, Y5, ‘Contemplative Landscape’, sectional drawing. A series of voids are constructed on the top of a hill in Valparaiso in order to create a contemplative landscape representing the natural cycles of birth, life and death. The separate spaces are designed to evoke a sense of presence, being and absence within the visitors through precise framing of city landmarks, handling of light and

material treatment. Fig. 23.12 Glenn Wooldridge Y5, ‘The Artist’s Chair’. 1:1 built prototype exploring the use of wax pistons in the creation of a kinetic environmental carapace for a travelling artist.

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Fig. 23.13 Nicholas Debruyne Y5, ‘Altitude Sickness’. In a precise choreography of moving figure and method of recording, the slit scan collapses time, quantifies motion and maps the rhythms of space. As a mode of perception, it offers a distorted sense of time, space, and place, one that comes closer to the realities of our increasingly fluid world. Fig. 23.14 Julian Siravo Y4, ‘Casa Pirquinero’. A network of copper cable and rock bolts is developed to support internal cladding in an underground domestic environment. Fig. 23.15 Wynne Leung Y4, ‘Off the Table: Tati’s Deconstructed Suitcase – Trapping the Projection’. Following the surgical operations of recording the coordinates of a projected moving image through drawing, a site case is produced containing a selection of dynamic joints and components. These individual components vibrate, pivot

and extend in 3-axis for the various sized receiving surfaces and help deconstruct the projection of light and image in three dimensional space.

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0.0 23.17 Fig. 23.16 Flavie Karoukis Y4, ‘La Casa de las Piedras’. the counterweight element of the deployable tensioned sail The House of Rocks is a place of domesticity and which actuates the stables movement across the Open City experimentation for the rock collector and his wife. From the dunescape in Chile. dynamic earthquake shocks that disrupt the city of Valparaiso to the small subtle movements that interrupt the architecture, the house seeks to respond to these different modes of resistance. An abstraction of the body is thus translated into an aging form and dwelling niche for its occupants. These drawings are both a prototype of the tripod leg support as well as a sectional exploration of the reactive pendulum pods that are supported by armatures connected to the site. Fig. 23.17 Michael Arnett Y4 ‘The Sand Stable’. Cast counterweight node: cast pewter node at 1:10 scale in its 5-part CNC milled and hand carved lime wood mould. The node acts a prototype for 279

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23.19 Fig. 23.18 Mohammed Hassan Jubri Y4, ‘Haptical Studies’. Pencil on mylar film. Exploring the haptical relationship of a scene within a film, the drawing interrogates the bodily relationship of a mechanical articulated body to various elements in space over a period of time. The free dynamic body of the delicate structure is nestled into a solid element, grounding its position resulting in cyclical patterns as the body articulates itself on its 2-axis. The drawing lends itself to the development of the architecture later in the building proposal. Fig. 23.19 Mohammed Hassan Jubri Y4, ‘House of Flying Optics’. Physical model. The scaled model is a possible version of its architectural manifestation on its third phase of construction over a four year period. Paralleling the pedagogy of The Open City, in Chile, spatial opportunities are constantly 280

interrogated during its construction process, resulting in a resolution or deviation from its original intention. It is also in this process that intuition and logic become agents to activate various sorts of spatial invention.

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23.23 23.25 Figs.23.20 – 23.21 Luke Lupton Y4, ‘Combustion Construction’. The seek for homogenous architecture. The inhabitation of the experiment. Explorations into igniting the fabric of the building: onion-cast plaster, sodium ice, brine bricks and ITO glass. Fig.23.22 Luke Lupton Y4, ‘The Pickle Protagonist’. A change of state, the observer is now the observed. The symbolic becomes the reality. The designer no longer conducts the experiment, he inhabits it. The pickle is no longer pictoric, its power shifts to the fists of the protagonist. A change of state, the sodium ions excite and ignite, the thermoplastic becomes elastic. Material manipulation fuels repeated iteration. A methodology is spawned which is formed of a nutritious duality of human intuition and chemical disposition. Fig.23.23 Luke Lupton Y4, ‘Designing Through

Experiment’. Design iterations are placed on the testing rig. This duality in design process highlighted the necessity for enclosure, insulation or protection.

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Unit 24

Forty Second Island Penelope Haralambidou, Simon Kennedy, Michael Tite

Year 4 Haeseung Choi, Nichola Czyz, Finbarr Fallon, Stefana Gradinariu, Azizul Hoque, Mariya Krasteva, Stefanos Levidis, Ting-Jui (Brook) Lin, Ziyi Liu, Antonio Zhivkov Year 5 Deng (Aiden) Ai, Joel Cullum, Jiang Dong, Ka Tsun Kelvin Ip, Emir Tigrel, Angeliki Vasileiou, Kai Yu, Caiwei (Amy) Zhao The Bartlett School of Architecture 2015

Special thanks to Paul Bavister, Douglas Fenton, Johnny Kelly, Kevin Pollard We would like to thank our critics: Nat Chard, Dan Cotton, Hal Currey, Liam Davis, Murray Fraser, Alexis Germanos, Christine Hawley, David Hemingway, Colin Herperger, Jack Holmes, Steven Howson, Platon Issaias, Kei Iwamoto, Chee-Kit Lai, Tim Norman, Caireen O’Hagan-Houx, Leonard O’Hagan-Houx, Ollie Palmer, Luke Pearson, Alan Penn, Kevin Pollard, Sophia Psarra, Merijn Royaards, Camila Sotomayor, Reza Schuster, Matthew Shaw, Matthias Suchert unittwentyfour.wordpress. com www.unittwentyfour.com

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Unit 24 employs film, video, animation, drawing and modelling techniques to generate architectural propositions, harnessing the potential of timebased media in the production of space. This year, we studied a city to which we have all been … at least, in our imagination. This city has created its own mythology through film, and an identity so distinctive, that it is simulated throughout the world. Deeply embedded in our collective subconscious, this place can be reconstructed remotely, travelled to in dreams, and experienced through purely fictional constructs. New York City is an archipelago of 42 islands; some are prominent and densely populated, others are deserted and effectively invisible. The island nature of the city has impacted on how it has grown and the way it sees itself. Its hydrogeographic position enabled it to harbour storytelling immigrants from all over the world, the pressure on land created the skyscraper, and the city’s topography has allowed it to gaze at its own mythical reflected skyline. The spirit of Manhattan, the most prominent island, is distilled in 42nd Street. Linking the iconic sites of Grand Central Station, Chrysler building, the UN Headquarters and Times Square, it was once known as ‘Dream Street’. It has a sordid history of harboring criminal activity – an old joke goes that ‘they call it 42nd Street because you’re not safe if you spend more than forty seconds on it’. By contrasting the urban density and energy of 42nd Street to the unexploited potential of the rest of the 42 islands we searched for new paradigms of urban occupation. We began by studying New York from afar, constructing filmic responses via research and editing techniques. We then proposed architectural interventions into these filmic sites. Our field trip to New York gave students the opportunity to compare their constructions to the throbbing reality of the city. Each student was invited to propose their own Forty Second Island through an architecture of narrative and film: a structure that established its own fictions and rules and allowed them to play out in time. Year 4 students resolved early speculations into a cinematic building proposition sited in New York. Year 5 students proposed a speculative thesis project, maintaining film as a key concern. Unit 24 is supported by a broad network of associated professionals working in sectors ranging from architecture to film, animation, sound design, motion graphics, urban design and contemporary art. Contributions from these professionals serve as a counterpoint to the theoretical discourse within the unit. This year students benefited from animation masterclasses with Johnny Kelly and Douglas Fenton, sound workshops with Paul Bavister, collaborations with film sound composer Kevin Pollard, and scanning workshops with ScanLAB.

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Fig. 24.1 Kelvin Ip Y5, ‘Hong Kong Last Resort’. Entombed within a citadel at the fringes of the container port, Hong Kong Last Resort houses the deposed rebels of the crushed city. Through the deployment of strategic urban planning, emboldened civic architecture and symbolic sculptural motifs the citadel acts as a fatalistic double critique against both the British colonial rule and the credibility of the ‘One Country, Two Systems’ policy introduced by China. A warning from the future, the project maps out an imaginary end-game and an audacious critique of the smothering of a proud culture. Figs. 24.2 – 24.3 Kai Yu Y5, ‘Submerged Silence’. In response to a growing interest in Taoist philosophy in China, a floating temple/diving centre provides a mirrored counter-body to the lost sacred site of the Jing Le palace. The palace embodies the

symbolic birth of the diety Xuanwu, but today lies at the bottom of a reservoir constructed by the Communist Party in 1967. Reaching the island by boat the visitor passes through a series of charged thresholds and physically completes the destroyed Xuanwu narrative, the lost faith, by accessing the submerged ruin undewater. Fig. 24.4 Deng (Aiden) Ai Y5, ‘New York Automobile Museum’. Acting as a monument to the car and its impact on the 20 th century American city, the New York Automobile Museum celebrates and mournfully reflects upon the doomed and intoxicating love affair between American culture and the image of the car. The automobile industry is at once glorified and also vilified through the symbolic destruction and explosion of components on a daily cycle. A blown-out hurricane.

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Fig. 24.5 Jiang Dong Y5, ‘The Autonomous Threshold’. Conceived as an experimental commuter island, the project explores new emerging domestic territories created by recent developments in self-driving vehicle technologies. Located within Parkland Walk in north London, a series of carousel-like house units provide the necessary hardware for daily life, while mobile vehicle units, or ‘autonomous thresholds’, can be programmed to receive parts of the house and travel away with them. Daily life becomes de-coupled from the drudgery of commuting, allowing the occupant/traveller to watch a film on the way home from work, to eat a bowl of cereal whilst on the school run or to take a long shower while on the M25. Fig. 24.6 Joel Cullum Y5, ‘Remember the Future’. Imagining an alternative reality for the Heygate Estate in Elephant and

Castle, the film gives life to the sketches of visionary post-war architects who fought – and failed – for its regeneration. Fig. 24.7 Caiwei (Amy) Zhao Y5, ‘The Institute of American Cuisine’. A moored aircraft carrier, harmoniously aligned to New York’s 42nd Street, is the unlikely site for an experimental and cultish molecular gastronomy institute, orchestrating a covert operation against obesity. Innovating and specialising in agar-agar heavy cuisine, foodstuffs are manipulated and sculpted into ‘plates’ that are sometimes small as a thimble and at other times as large as a room. Channeling Grimm, Ledoux and Lewis Carroll, this edible terrain is a playground, an enchanting dietary experiment and an outrageous culinary warship.

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24.9 Figs. 24.8 – 24.9 Angeliki Vasileiou Y5, ‘Weaving the Ineffable’. Located within the industrial hinterlands of Leicester, a library is embedded within the enigmatic micro-cosmos of Soar Island. Bridging the physical with the immaterial the library becomes a model of different individual paths to knowledge. This shifting, labyrinthine terrain guided by the writings of Jorge Luis Borges, Umberto Eco and Gilles Deleuze, is loosely traced out across the island’s body. Complex interconnecting networks of rooms lure the visitor to endlessly explore the depths of the apparently boundary-less interior. Weaving the Ineffable seeks to construct an architecture informed by literature, where non-linear structures of space can echo the mysterious structures of the mind. Fig. 24.10 Emir Tigrel Y5, ‘Vestigial Landscapes’.

Within the once-sooty, blue-collar industrial zones of the Brooklyn Naval Yard – and acting as a counterpoint to the burgeoning ’Silicon Alley’ of Manhattan – the project examines architecture’s ability to convey historic continuity into the present. Drawing on the rich symbolism of the industrial ruins that scatter the existing site and by using advanced imaging technologies, the new building seeks to ‘complete’ lost artefacts and spaces, giving a tectonic presence to the fading memories of this original US Industrial Powerhouse. In this instance, the design reinterprets the embodied experience of scale by animating a naval vessel’s rudder thus turning it into a dynamic piece of history, rather than a frozen relic.

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MArch Design Realisation Dirk Krolikowski, James O’Leary

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Thank you to our DR Lecturers: Simon Allford (AHMM), Klaus Bode (BDSP/AA), Xavier de Kestelier (Foster + Partners), Damian Eley (Arup Structures), Jan Güel (Rogers Stirk Harbour + Partners), Sara Klomps (Zaha Hadid Architects), Dirk Krolikowski (The Bartlett School of Architecture, UCL / Rogers Stirk Harbour + Partners), Andrew McMullan (Heatherwick Studio), Ho-Yin Ng (Amanda Levete Architects), James O’Leary (The Bartlett School of Architecture, UCL), Michael Pelken (Laing O’Rourke), Joanna Pencakowski (Rogers Stirk Harbour + Partners), Sven Plieninger (Schlaich Bergermann und Partner), Hareth Pochee (Max Fordham), Andrew Sedgwick (Arup Services) We are grateful to our DR Practice Tutors: Kyle Buchanan (The Bartlett School of Architecture, UCL / Buchanan Partnership), Simon Dickens (youmeheshe), Pedro Gill (Studio Gil Architects), James Hampton (Studio Egret West), Greg Blee & Lee Halligan (Blee Halligan), Tom Holberton (Rick Mather Architects), Sara Klomps (Zaha Hadid Architects), Justin Nicholls (Make Architects), Ralph Parker (Price & Myers), Dean Pike (Dean Pike), Aleksandrina Rizova (The Bartlett School of Architecture, UCL / Aleksa Studio), Soma, Michael Tite (Walters & Cohen Architects), Manja Van de Worp (NOUS Engineering)

The Design Realisation course provides the opportunity for all Year 4 Masters students to consider how buildings are designed, constructed and delivered. Students are asked to reflect upon their relationship to technology, the environment and the profession. This is explored through an iterative critical examination of the major building design project, taught within the context of individual design Units in year 4. Students are supported by an extensive lecture series, seminars and cross-unit crits. The course forms bridges between the world of academia and practice, engaging with many internationally renowned design and consultancy practices. A dedicated practice-based architect, structural engineer and environmental engineer support each design unit, working individually with students to develop their work throughout the duration of the programme. This year’s AHMM Design Realisation Prize goes to Fergus Knox of Unit 11, for his design of a multi-family housing complex in San Francisco, USA. Occupying the space of the city’s infamous layer of fog, the project seeks to utilise the particularities of this condition to create uniquely elevated living experiences. The project has a particularly rich narrative in relation to this environmental situation. Each house is envisaged as a self-sufficient off-grid living environment that harnesses its energy from natural resources and pays back into the grid. Harvesting its own water from the moisture of the fog, the building functions as an inhabited public infrastructure project – an urban water tower that pulls moisture from the atmosphere and collects and distributes it to the residencies below. Many hours of sketching, conversation and critique go into producing the rich projects and documents of the Design Realisation programme. We would like to thank all of our supporting experts and consultants who make these conversations possible.

Thanks to all the Structural Consultants who have worked with individual students to realise their projects, and to Max Fordham, Environmental Consultants to all Units Special thanks to AHMM for sponsoring the Design Realisation Prize 2015 292

Image: Fergus Knox Unit 11, Y4, ‘building performance design for a multi-family housing complex in San Francisco, USA’

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MArch Year 5 Thesis Edward Denison, Mark Smout, Robin Wilson, Oliver Wilton

The Thesis enables Year 5 students to define the intellectual position which underpins their work, engaging with architectural disciplines and from the visual arts, humanities, physical or social sciences, including: physics, healthcare and housing policy, environmental philosophy, anthropology or political theory, structural engineering or computation. Individual theses therefore synthesise a student’s chosen research approach into a 9,000word study. Work from the module has won the RIBA President’s Medals Dissertation Prize (for example, Tamsin Hanke in 2013 and Matthew Leung in 2012). We anticipate a number of theses from this year’s academic cohort to be developed into external publications. The Bartlett School of Architecture 2015

Thesis Tutors Hector Altamirano, Andy Barnett, Matthew Barnett-Howland, Iain Borden, Andrew Budgen, Ben Campkin, Simon Carter, Nat Chard, Edward Denison, Oliver Domeisen, Murray Fraser, Daisy Froud, Stephen Gage, Gary Grant, Penelope Haralambidou, Christine Hawley, Anne Hultzsch, Zoe Laughlin, Guan Lee, Stephen Lorimer, Luke Lowings, Tim Lucas, Abel Maciel, Anna Mavrogianni, Hugo Nowell, Harry Parr, Luke Pearson, Emmanuel Petit, Hareth Pochee, Hilary Powell, Sophia Psarra, Rokia Raslan, Peg Rawes, Jane Rendell, David Rudlin, Tania Sengupta, Bob Sheil, Jason Slocombe, Mark Smout, Nina Vollenbröker, Tim Waterman, Robin Wilson, Oliver Wilton.

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ground’s geological characteristics, will be explored using economic, political and philosophical theory to underpin the critique. Sited in historical and contemporary case studies which range in scale from the state and the city to the individual building, these ‘geo-cadastral’ negotiations challenge an established relationship California, the most populous state in America, is a ‘tectonic time bomb’; seismically hazardous with the ground that is unstable and in motion. land threatening to shake and rupture at any Historically, disaster does not discourage moment. An unthinkable ‘earthquake storm’, construction and inhabitation in these danger a succession of ‘monster’ earthquakes across zones. Land once described by the grid imposed the fault system is considered to be inevitable by the central federal government (examined here and threatens regions such as the San Francisco through Deleuze and Guattari’s notion of ‘state Bay Area with destruction on a scale yet unseen. apparatus’), becomes commodity, a fiercely As desirable homes are built on or near fault lines, contested ‘scarce resource’. Property lines the unstable ground beneath threatens to shatter abstracted to maps and bureaucratic records the embodiment of the American Dream, throwing endure the physical ruination as rights over plots the state into severe crisis. Why are the residents of land are maintained and enforced, ensuring, of California prepared to take this huge risk? as economist John Umbeck describes, the The contradictory impulses of allure and necessary exclusion of competitors. However, hazard are explored, evaluating notions of land improvements in seismic building technology ownership or claim alongside risk across the offer reduced risk and allow for a more flexible state of California. Beginning with the ‘primitive’, architecture in tune with rather than attempting pre-state Californian Gold Rush, the study to dominate the land; an approach where the moves onto the grid of US urban planning: the ground’s natural movements and occasional predominant human attempt at rationalising violent tremors are respected and somewhat space, which had its origins in the east-west obeyed. With land becoming ever more scarce, passage of the American frontier and its and the threat of earthquakes worsening, these accompanying patterns of settlement. These geo-seismic issues suggest how our attitudes concepts are manifest in cadastral lines, that is, towards land, architectural construction and the lines of territory on a map and the actual or permanence of claim need to be readdressed. physical boundaries they represent or define. Image: Surface traces of a seismic rupture block movement joint, California Memorial Stadium, Berkeley. The interplay between these, as well as with the Nicholas Blomstrand The Fault in the Frontier: Speculations on the (Monstrous) Interplay Between the Geological and the Cadastral in California Thesis Tutor: Robin Wilson

MArch Year 5 Thesis The Bartlett School of Architecture 2015

function of waste, the implications of waste, and the integration of waste places into our public and private landscapes. Addressing the established challenges can, and should, be used as a foundation for future development. The project merely investigates how factors that govern waste’s impact on society can In the next 15 years, London will be obliged to manage 100% of its refuse within its boundaries. manifest in an architectural proposition, negating This not only forces society to confront its wastes these perceptions and turning waste, once again, psychologically, but also physically. This study into a valuable resource. Importantly, this opens therefore discusses the possibility and benefits of up a much-needed discussion about the developing a new typology of waste management development of an architecture of waste infrastructure that integrates itself within the management integrated into society technically, urban environment to become an essential socially, politically and financially, but a component of cities: technically, socially, discussion that can only continue if our planned politically and financially. ignorance towards waste and the architecture The study reflects upon the increasing that contains it can be challenged. despondency towards this previously undeveloped architectural typology through examining five ‘challenges’ apparent in its integration, concluding with a proposal that uses these as its foundation, addressing how managing the discarded excess of life can sit within future discussions on sustainability. The idea and material of waste, since its inception, has been used to order, make sense of and improve human habitats, and because of this relationship and perception, it has consistently shaped visions of utopia and dystopia. As environmental pressures force Image: Waste infrastructure as an integrated network in society to reassess the traditional role of waste society, producer of Boris Johnson’s sustainable city of (and waste technologies), these dystopias must the future, and physical testimony to the glory of waste management. become utopias, and reconsider the value and Alex Cotterill Planned Ignorance: Developing New Typologies of Waste Management Infrastructure and Their Necessity in a Future Sustainable Society Thesis Tutor: Oliver Wilton

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one CNC milling programme before the billet is flipped.

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The thesis is divided into two parts. The first analyses the nature of craft processes involved in the world between the original and the copy. These include the recording of surface information, the materialisation of digital data, This thesis discusses the essentialist doctrine and the production of facsimiles using both analogue and digital methods. There is a that supposes a complete architectural drawing or digital model, i.e. a ‘fully resolved’ notation, discussion of the ethical and philosophical can be directly and instantly translated into questions that are provoked by the act of another form, without any loss of the essence making copies, such as questions of authenticity, of the original. In his book Translations from autonomy and originality. The second part Drawing to Building and Other Essays, Robin focuses on a practical brief, which involves the Evans examines the inevitable disconnection that fabrication of three gothic finials, each originating occurs between an intention and its manifestation: from the same digital notation. Despite starting ‘The assumption that there is a uniform space from the same ‘original’, the finials are each through which meaning may glide without produced using different materials and methods modulation, is more than just a naïve delusion… of manufacture. The processes have been things can get bent, broken or lost on the way’ 1 analysed and questions have been raised by The craftsperson or the fabricator has the creation of these different forms of translation significant control over the final materialisation from the same notation. The exercise aims to of the translation. The act of choosing how to elucidate the extent of decisionmaking and craft reveal a geometry from a piece of stock material that is undertaken in the ‘in-between’ processes using subtractive CNC milling, for example, that are usually hidden and unacknowledged. involves choices and decisions about which toolpaths and milling cutters to use in order to extract the geometry. All acts of translation involve hidden choices that have a significant effect on the outcome. As the historical schism between the design of a building and its construction has 1 Robin Evans, Translations from Drawing to Building and Other Essays (1997), MIT Press, p.154 grown, ‘the transmutation that occurs between 2 ibid, p.160 drawing and building has remained to a large 2 extent an enigma’. Image: Curved pieces for the aluminium finial at the end of Helena Howard The Blind Spot: Translations from Design to Manufacturing Thesis Tutor: Bob Sheil

Image: Students in the B-made (Bartlett Manufacturing and Design Exchange) workshop

Image: BSc Architecture UG7, Y3, student Niki-Marie Jansson shows her work during the Open Crits

B-Pro: MArch Architectural Design 302 B-Pro: MArch Urban Design 304 MA Architectural History 306 MPhil/PhD Architectural Design 308 MPhil/PhD Architectural History & Theory 318 Pg Dip in Professional Practice & Management in Architecture (ARB/RIBA Part 3) 322

New Programmes 323 Bartlett Short Courses 324 Open Crits 325 Bartlett Lectures 326 Sir Banister Fletcher Visiting Professorship 327 Bartlett Staff 328

B-Pro: MArch Architectural Design Programme Leader: Alisa Andrasek

Labs Wonderlab: Alisa Andrasek BiotA Lab: Dr Marcos Cruz, Richard Beckett Interactive Architecture Lab: Ruairi Glynn Report Coordinator Stephen Gage

The Bartlett School of Architecture 2015

The Masters programme in Architectural Design (AD) is a 12-month full-time post-professional course, leading to a Masters of Architecture (MArch) degree. It is part of B-Pro, the umbrella structure for post-professional Masters programmes at The Bartlett School of Architecture, directed by Professor Frédéric Migayrou. Composed of an international body of experts and students, it is designed to deliver diverse yet focused strands of speculative research, emphasising the key role computation plays within complex design synthesis. Design is increasingly recognised as the crucial agency for uncovering complex patterns and relations, and this has never been more important. Historically, the most successful architecture has managed to capture cultural conditions, utilise technological advancements and answer to the pressures and constraints of materials, economics, ecology and politics. Presently, this synthesis is accelerated by the introduction of computation and the evolving landscape of production. With access to B-made, one of the most advanced fabrication workshops in Europe, AD students are introduced to highly advanced coding, fabrication and robotics skills, aimed at computational and technological fluency. Simultaneously, students are exposed to larger theoretical underpinnings specifically tailored to their enquiries. Students will be part of a vibrant urban and professional community, in one of the most exciting cities in the world, enriching the process of learning and opportunities for networking. Placing advanced design agency at its core, AD devotes a high proportion of its time to studio-based design enquiry, culminating in a major project and thesis. The course is divided into three Labs, offering students the opportunity to choose a distinct field of enquiry. Labs are seen as a suite of distinct research entities that set new research agendas in their respective fields. The latest approaches to robotics and AI, CNC fabrication, 3D printing, supercomputing, simulation, generative design, interactivity, advanced algorithms, extensive material prototyping and links to material science are explored. Students are introduced to theoretical concepts through lectures and warm-up design projects supported by computational and robotics skills-building workshops. Throughout the year students work in small teams or individually, amplifying students’ focus and individual talents in the context of complexities of design research and the project development. Projects are continuously evaluated via tutorials with regular design reviews by external critics. Alongside its cutting-edge research, AD hosts a series of public events, such as Plexus and n_Salon.

Image: Team Filamentrics [Zeeshan Ahmed, Yichao Chen, Nan Jiang, Yiwei Wang], MArch AD, RC4, Wonderlab, ‘Spacewires’, rendering 302

B-Pro: MArch Architectural Design The Bartlett School of Architecture 2015

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B-Pro: MArch Urban Design Programme Leader: Dr Adrian Lahoud

Labs City and Urban Infrastructures Lab: Dr Adrian Lahoud Urban Morphogenesis Lab: Claudia Pasquero History & Theory Coordinator Godofredo Pereira

The Bartlett School of Architecture 2015

The MArch Urban Design (UD) is a 12-month studio-based programme that brings together a new generation of designers and thinkers from across the world. It is established to provide a rich and challenging environment for long-term research on the challenges of global urbanisation and the creative potential of speculative design. It is part of B-Pro, the umbrella structure for post-professional Masters programmes at The Bartlett School of Architecture, directed by Professor Frédéric Migayrou. Urban design is a particular form of enquiry into the nature of the city, its form and function. It seeks to understand the city as a place of human coexistence and to devise strategies and projects to guide its future development and evolution. Throughout the UD course, students are encouraged to innovate and explore new ideas in design and theory. They are introduced to design skills and techniques, critical enquiry and related technologies. They use this experience to shape polemic interventions, and through the design portfolio and thesis, develop speculative projects on a variety of scales. Students are encouraged to explore and understand their host city, a city that arguably is one of the richest and most diverse in the world, whilst in residence. MArch UD is first and foremost a design-led course that culminates in a major project and thesis, where cities and regions are usually chosen as the basis for study. The year is underpinned by a lecture-based series in the history and theory of urban design, and a high proportion of time is devoted to studio-based design enquiry, supported through tutorials from designers and experts in associated fields such as computing, drawing, and making. The curriculum introduces students to diverse fields such as archaeology, anthropology, design theory, ecological history, advanced computing, governance, law, media, philosophy, planning and political theory. Environmental and ecological questions are given high priority within a critical structure that embraces the dispersed, often paradoxical nature of contemporary urbanism, and the challenge in resolving complex issues facing populations, public space, land use, and building typologies through innovative design strategies. The course is divided into two Labs, offering students the opportunity to choose a distinct field of enquiry. Labs are seen as a suite of distinct research entities that set new research agendas in their respective fields.

Image: Team Physa [Mingjie Fan, Shihong Sun, Nan Yang, Kai Kai Zhou], MArch UD, RC16, ‘Bio-Digital Futures, The Copper Corridor’ 304

B-Pro: MArch Urban Design The Bartlett School of Architecture 2015

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MA Architectural History Programme Director: Peg Rawes

Teaching Staff Iain Borden, Ben Campkin, Mario Carpo, Barbara Penner, Jane Rendell, Amy Thomas, Robin Wilson

The Bartlett School of Architecture 2015

Architecture consists not only of buildings and projects, but also of the life that takes place within them, and the ideas and discussions that they give rise to. The MA Architectural History actively explores what history can do for architecture: students develop skills for interrogating, extending or reframing the discipline and its phenomena, often in terms of broader debates about culture, history and politics. Often this work is experimental and creative, bringing in ideas from different fields to see how these contexts re-situate architecture within the discipline and beyond. Each project below is an experiment, in which a particular architectural phenomenon is examined in the light of a particular theory or set of ideas, to see whether our view of it might change – or, alternatively, whether a theory might need to be reassessed. The Masters, which has been running for 30 years, is partly a taught degree that prepares people for research, and partly a research programme, in which people undertake a self-selected and self-directed research project – an example from this year’s cohort is shown here. 2013–14 Valeria Razeto Caceres Memorials for Democracy: Memorials in Chile after the Dictatorship Die Hu Public Spaces Produced for Privately Owned Urban Regeneration in London: Granary Square, Kings Cross Karen Jagodin Bringing the West home: The Encounter with Western Countries and Representations of Estonian Architects’ Experience in the 1950s-70s Angus Lowe Speaking before the Dead: Enunciative Modalities at Poplar Coroner’s Court and Mortuary Reiko Maeta Another Story, a Different History: Press Reporting of Harumi Apartments in Japan and the Occident Povilas Marozas Visaginas: Looking at the Town Through Photography Soledad Perez Martinez Clubs: Building Social Relations, Traces of Language, Behaviour and Ideology in Modern Architecture

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Michael Moynihan The Contingency Plan: Bringing it all to the Surface Haig Papazian Architecture in Low Resolution: The New Aesthetic of Post-Photographic Images of Buildings Sarah Parker Changing Ideals in Domesticity: How Ethnicity, Class and Postcolonial Identity are Represented in the Residential Architecture of Geoffrey Bawa Iga Perzyna Building ‘New Liberia’: Architecture in Service of Modernity and Power Christopher Purpura Holding Hands, Touching Alterity: Dance as Spatial Practice at Monte Verità, 1914 Jessica Ragusa Six views of Verrazano: An Architectural Exploration of Othmar Ammann’s Verrazano-Narrows Bridge Adam Robertson Messing Around with the Demolition Man: A study of the Ideology of Demolition and Renewal in Deptford in the 1960s and 1990s

Felix Rössl Rampant Mediocrity? Perception and Re-evaluation of the GDR’s Architectural Art after German Reunification Clelia Simpson Framing the Present: Walker Evans’ Photographs of Victorian Architecture (Museum of Modern Art, NY, 1933) Joanna Stauch Museum Ex Nihilo: Building in the Desert Gwen Webber Islands and Conduits: Conditions Producing Architecture and Reciprocal Cultural Spaces in British Council Offices Overseas

MA Architectural History

Movement is, so to speak, living architecture1 In the summer of 1914 around the outbreak of WWI, the self-sustaining anarchist community Monte Verità offered artists, intellectuals and dropouts from Europe’s cities an opportunity to experiment in alternative lifestyles including mysticism, nudism and vegetarianism along the Swiss shoreline of Lago Maggiore (Green 1986: 1-4). Sharing the mottos ‘light, air, life, sun!’ and ‘back to nature’, the self-styled architect-turnedmovement theorist Rudolf Laban and his students performed early ‘free dance’ experiments outdoors, offstage, and often without clothes. Neither film footage or notated dance scores survive for Laban’s 1914 experiments, and the group’s memories are scattered in fragments across various biographies. In this dissertation, their fragmented verbal memories appear alongside images from the Zürich Kunsthaus and Laban’s archive in Guildford, UK. ‘Word and image’ are designed to give voice to supposedly mute images, and ‘body’ is inserted as a third term to show an historical narrative sensitive to ‘haptic’ perception – a sense of touch extending beyond the hands which mediates the body’s relation to its surroundings. Laban’s notion of ‘a living architecture’ operates beyond formal analogies between

buildings and human anatomy. As both the spatial organisation of bodies, and the corporeal organisation of space, choreography is the possibility of an architecture without buildings. […] As much about space as about bodily movement, my discussion of Laban’s Monte Verità experiments resists conventional notions of dance as theatrical performance. Instead, I explore how phenomenological concepts of bodily experience can reanimate the reading and writing of histories for live performances that survive primarily through photographic representation. Standard accounts of Laban’s dance experiments are reframed through Michel de Certeau’s notion of ‘spatial practice’, opening a cross-temporal and intermedial historical narrative. After unpacking Merleau-Ponty’s phenomenology of the ‘lived body’ from which spatial practices emerge, I engage with recent feminist and queer interpretations of embodiment: what Rosalyn Diprose calls an ‘opening to alterity’. Laban’s experiments then function as ‘performative’ spatial practices which produce, rather than passively reflect, the counter-normative lifestyles and subjectivities of those who inhabited Monte Verità. Paying special emphasis to Judith Butler’s ‘corporeal styles of being’, I evaluate the liberatory potential that Laban’s experiments offered to individuals and communities facing punitive consequences by virtue of their otherness. 1 Rudolf Laban, 1966 Image: Matthew Leifheit, ‘Contact’, 2014 307

The Bartlett School of Architecture 2015

Christopher Purpura Holding Hands, Touching Alterity: Dance as Spatial Practice at Monte Verità, 1914

MPhil/PhD Architectural Design Programme Director: Professor Jonathan Hill Programme Coordinator: Dr Penelope Haralambidou

The Bartlett School of Architecture 2015

Current Students Yota Adilenidou, Bihter Almac, Luisa Silva Alpalhão, Nicola Antaki, Nerea Elorduy Amoros, Anna Andersen, Jaime Bartolome Yllera, Katy Beinart, Joanne Bristol, Matthew Butcher, Niccolo Casas, Ines Dantas Ribeiro Bernardes, Bernadette Devilat, Killian Doherty, Pavlos Fereos, Judith Ferencz, Susan Fitzgerald, Pablo Gil, Ruairi Glynn, Polly Gould, Colin Herperger, Bill Hodgson, Sander Holsgens, Popi Iacovou, Christiana Ioannou, Nahed Jawad, Tae Young Kim, Dionysia Kypraiou, Hina Lad, Felipe Lanuza Rilling, Tea Lim, Jane Madsen, Samar Maqusi, Matthew McDonald, Matteo Melioli, Phuong-Tram Nguyen, Oliver Palmer, Christos Papastergiou, Luke Pearson, Mariana Pestana, Henri Praeger, Felix Robbins, David Roberts, Natalia Romik, Merijn Royaards, Matt Shaw, Wiltrud Simbuerger, Eva Sopeoglou, Camila Sotomayor, Ro Spankie, Theo Spyropoulos, Theodoros Themistokleous, Quynh Vantu, Cindy Walters, Henri Williams, Alex Zambelli, Seda Zirek, Fiona Zisch Graduating Students Alessandro Ayuso, David Buck, Catja de Haas, Mohamad Hafeda, Constance Lau, Igor Marjanović, Ben Sweeting, Stefan White, Michael Wihart

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Leading to a PhD in Architecture, the MPhil/PhD Architectural Design programme allows especially able and reflective designers to undertake research within The Bartlett School of Architecture’s speculative and experimental ethos. The first to be established in the UK, The Bartlett’s MPhil/PhD Architectural Design is internationally recognised as one of the most influential doctoral programmes dedicated to architectural design. The programme draws on the strengths of design teaching and doctoral research at The Bartlett, encouraging the development of architectural research through the interaction of drawing and writing. An architectural design doctoral thesis has two inter-related elements of equal importance – a project and a text – that share a research theme and a productive relationship. The project may be drawn, filmed, built, or use whatever media is appropriate. UCL’s multidisciplinary environment offers a stimulating and varied research culture that connects research by architectural design to developments in other disciplines, such as anthropology, art, digital media, engineering, geography and medicine. The PhD Architectural Design programme is intended for graduates of architecture and other disciplines who wish to pursue research by architectural design. 55 students from over 20 countries are currently enrolled. The Bartlett School of Architecture’s two PhD programmes organise a number of annual events for doctoral students. PhD Research Projects, an exhibition and conference with presentations by current practice-based PhD students in UCL and the Royal Academy of Music, is held in Term 2. Invited critics in 2015 were Dr Sarah Callis, Royal Academy of Music; Professor Mario Carpo, The Bartlett School of Architecture, UCL; Professor Tony Dunne, Royal College of Art; Professor Neil Heyde, Royal Academy of Music; Professor Mari Hvattum, Oslo School of Architecture; Dr Emmanuel Petit, Sir Banister Fletcher Visiting Professor, The Bartlett School of Architecture, UCL; and Professor Bob Sheil, The Bartlett School of Architecture, UCL. Throughout the year, PhD Research Conversations seminars are an opportunity for doctoral candidates to present work in progress. Current Supervisors Professor Peter Bishop, Dr Camillo Boano, Professor Iain Borden, Dr Victor Buchli, Professor Mario Carpo, Dr Ben Campkin, Professor Nat Chard, Dr Marjan Colletti, Professor Sir Peter Cook, Dr Marcos Cruz, Professor Murray Fraser, Professor Stephen Gage, Dr Sean Hanna, Dr Penelope Haralambidou, Professor Christine Hawley, Professor Jonathan Hill, Dr Adrian Lahoud, Dr Yeoryia Manolopoulou, Professor Neil Heyde, Dr Caroline Newton, Professor Sebastien Ourselin, Jayne Parker, Professor Alan Penn, Dr Barbara Penner, Dr Sophia Psarra, Dr Peg Rawes, Professor Jane Rendell, Professor Bob Sheil, Mark Smout, Professor Philip Steadman, Dr Hugo Spiers, Professor Neil Spiller, Professor Michael Stewart, Professor Philip Tabor, Dr Claire Thomson

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enmeshed in design vignettes, informing, catalysing, and ‘ornamenting’ processes, images, animations, and models. Narratives from the viewpoint of body agents are similarly intertwined in the historical and analytical text, aiding in the The argument put forth in this thesis is based on pursuit of questions and the formulation of the the observation that design suffers from a thesis’s argument. ‘missing body.’ This absence stems from a The thesis begins with a journal entry from Modernist aversion to the figure that has been the viewpoint of a body agent referred to as absorbed by contemporary design. It contributes Putto_1435 as he ‘comes to’ in Wates House. to an anonymous, author-less, and disembodied This Putto describes his abhorrence of the building, quality in buildings and to a diminished and explains that he is a muse summoned to aid imagination in the design process. in designs. He goes on to describe the traits of his In this thesis, the notion of ‘body agents’ new digital body and, in later entries, reminisces – dynamic, subjective, and non-ideal figures that about his roles in aiding the design of Renaissance, exist in a reciprocal state with designs – is put Baroque, and even Rococo architecture. By way forward to address radically new conditions in of his journal entries, the narrative viewpoint of his architecture, subjectivity, and embodiment. These companion, Torso 2.0, a prosthetically-enhanced figures are also predicated on the importance of version of Pichler’s Torso, is also introduced. continuity with the past. The historical precedents The results of this research were body that are focused on include the proto-Baroque work agents with particular viewpoints and evolving of Michelangelo Buonarroti, the Baroque work of histories that contaminated the design process. Gian Lorenzo Bernini, and the more recent work The body agents’ ‘expressive’ anatomies, of Walter Pichler. In all of these examples, figures comprised of reified digital meshworks, spatially enact emotional and personal themes of their and materially intertwined with their architectural authors as well as broader cultural issues and contexts. The intention is to introduce body agents epistemes that I found resonated with the current into contemporary design to catalyse architectural day. These figures mediate between the architect imagination and expose opportunities to interject and the design, but also between the inhabitant situated and embodied intersubjectivities. and the buildings within which they are embedded. The historical research was part of a triadic Image: Alessandro Ayuso, ‘Kneeling Window Drawing’, mixed media, 2.5m x 3m a full-scale drawing of a ‘Kneeling Window’ methodology that also included design and design generated through the incorporation of the ‘Putto_1435’ body agent fictional writing. The body agent images were Alessandro Ayuso Body Agents: Deploying a New Figure for Design Principal Supervisor: Dr Marcos Cruz Subsidiary Supervisor: Professor Jonathan Hill

MPhil/PhD Architectural Design The Bartlett School of Architecture 2015

investigates whether the temporality of this music is similar to that of aspects of landscape time, and if so what notation for landscape architecture might be derived from the strategies contained within the score. Each is juxtaposed with design representations by: Donald Appleyard et al from The View from the Road, 1965; Bernard Tschumi This thesis draws conceptually and directly from Manhattan Transcripts, 1994; and William on music notation in its investigation of the Kent from Rousham Garden, 1748, before temporality of landscape architecture. It argues examining four landscape spaces through the that the rich history of notating time in music development of new landscape architecture provides a critical model for this under-researched notations. The thesis is created from two and under-theorised aspect of landscape notations, one written in the text, the other architecture, while also ennobling sound in the presented in drawings and in five films. The sensory appreciation of landscape. This thesis landscape architecture notations created in differs from other landscape architecture studies the research are a creative transcription of the that refer to music in two critical ways: firstly research actions, and form an ekphonetic rather than their references to Baroque, Classical notation of the ideas contained within the text. or Romantic music, this investigation focuses on The research makes available to a wider music notation from a 27-year period of musical design audience the works of three influential innovation in the 20th century; secondly in referring composers of the latter half of the 20th century, to music notation as a source for landscape presenting a critical evaluation of their work within architectural notations, I address their omission music, as well as a means in which it might be of sound, which in importing aspects of music used in landscape architectural research. notation into design, they curiously left behind. The thesis also offers valuable insights into the The thesis consists of three central studies methods used by landscape architects for the focusing on music notations titled Horizons, benefit of musicians, and by bringing together Clouds and Meadows. The music notations musical composition and landscape architecture studied in fine detail are Projection I by Morton through notation, it affords a focused and Feldman, 1950, Lontano by Gyorgi Ligeti, 1969, sensitive exploration of temporality and sound and Green Meadows by Michael Finnissy, 1977. in both fields. Each study examines the notation of a musical Image: David Buck, â&#x20AC;&#x2DC;655â&#x20AC;&#x2122;, charcoal on paper, 1126mm by 1600mm, extract from the film of a descriptive notation score and its specific approach to time. It David Buck In an Open Field: A Musicology for Landscape Principal Supervisor: Dr Penelope Haralambidou Subsidiary Supervisor: Professor Jonathan Hill Additional Supervisor: Professor Neil Heyde, Royal Academy of Music

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This thesis is an exploration of contemporary domesticity and the home in contemporary society through the visual and textual analysis of three different historical (sets of) images of the home: the Dolls’ House of Petronella Oortman, painted in 1710 by Jacob Appel, Saint Jerome beside a Pollard Willow by Rembrandt van Rijn, and L’Arbre Savant by René Magritte. The Dolls’ House of Petronella Oortman, assembled between 1686 and 1711, was a collection of miniature objects displayed in nine boxes that were placed in a cabinet. In the painting the careful placement of seven hundred miniature objects and dolls has been carefully depicted, creating a complete overview of the ideal home as it was developed in 17th century Netherlands. The contents of the dolls’ house, now displayed in the Rijksmuseum in Amsterdam, have been placed in the cabinet as they are placed in the painting. The etching Saint Jerome beside a Pollard Willow, 1648, by Rembrandt van Rijn depicts Saint Jerome, one of the church fathers, seated next to a pollard willow. The architect Alison Smithson saw this as an ‘allegory of the ideal home’; the result of a symbiotic relation between the Saint and his surroundings; an enclave.1 These two representations are, in many aspects, each other’s polar opposite:

the first represents a household, run by a woman, in a town, arranged according to a specific idea about society. The second depicts a man, alone in a natural environment, who has carved out his own home under a tree, as an individual act. The third image, L’Arbre Savant, 1926, by René Magritte depicts a cabinet, which is conceived, just as the dolls’ house-cabinet is, in a rational manner, in a tree trunk, which is formed organically. The image, therefore, displays the nonsensical aspect and the tension that a juxtaposition of two familiar, yet incompatible, objects generates. In fact it is the tension between these objects that could generate the idea of the home. It can also be seen to represent a series of what the architect Kim Dovey calls ‘dialectical processes of becoming at home’ 2 in his article ‘Home and Homelessness’, 1985.3 The resulting design, a miniature Domestic Toolkit, is a collection of objects, images and narratives that explore these ‘dialectical processes of becoming at home’ that a juxtaposition of the painting of Saint Jerome and the images of the Dolls’ house of Petronella Oortman generates. This juxtaposition is thus explored through drawing, making and writing. The writing is based on texts about the home and the house from feminist, architectural and anthropological sources.

1 Smithson in Risselada and van der Heuvel, 2004, pp. 225-229 2 Dovey, 1985, p. 34. in Werner and Altman, 1985 3 Werner and Altman, 1985 311

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Catja de Haas The Dolls’ House and the Enclave: A Toolkit Principal Supervisor: Professor Christine Hawley Subsidiary Supervisor: Professor Jonathan Hill

MPhil/PhD Architectural Design The Bartlett School of Architecture 2015

Mohamad Hafeda Bordering Practices: Negotiating and Narrating Political-Sectarian Conflict in Contemporary Beirut Principal Supervisor: Professor Jane Rendell Subsidiary Supervisor: Dr Yeoryia Manolopoulou Following the shift from borders to bordering practices in the field of borders studies (Parker & Vaughan-Williams, 2009; Diener & Hagen, 2012; Meier, 2013), this thesis proposes bordering practices as specific kinds of spatial practice which occur through processes of narrating and negotiating, and are situated in relation to concepts of everyday life and spatial practices (Lefebvre [1974, 1991] and de Certeau [1984, 1989]) and critical spatial practices (Rendell [2006]). The thesis examines the immateriality, spatiality, and temporality of bordering practices through the negotiation of spaces of politicalsectarian conflict – since their resurfacing in Beirut in 2005, practised by a triad of residents, politicians, and militias. It is a site-specific and practice-led research project that employs art, design and urban research tools to work with residents, located between the two adjacent areas of Tarik al-Jdide and Mazraa – both situated within the Mazraa district, and of different political affiliations divided across Sunni-Shiite lines. Through negotiation and narrative the thesis explores a series of modes of bordering 312

practices: those produced by conflict mechanisms, negotiated and narrated by residents, those negotiated and narrated through my engagements with the residents during this doctoral research; and those negotiated and narrated through the art installations produced in response as forms of critical spatial practice. The thesis is structured into four projects, each of which develops first by identifying strategic division conditions practised by political parties through the borders of: Surveillance, Sound, Displacement and Administration; second, by investigating residents’ spatial practices that exist as responses and negotiations to those strategic divisions. Third, and finally, the four projects produce four new bordering practices that transform borders into multiple shifting practices and representations that divide and connect through acts of negotiating and narrating. In particular, in project 1, crossing the border of surveillance between two women at their balconies; in project 2, translating the border of sound between taxi and walking journeys; in project 3, matching the border of displacement between twin sisters and their husbands; and in project 4, hiding behind the border of administration between an elected district’s representative and his fictional TV character. Image: Mohamad Hafeda, ‘Sewing the Border’, film still, an exercise conducted with a resident sewing the border of the area in which she lives

MPhil/PhD Architectural Design

This thesis explores the role of archival research in the design process, and especially in relation to the notion of multiple interpretations. The argument further establishes that architectural design can be informed by an innovative working method of archival research that is precise and exploits the potential afforded by multiple interpretations that are apparent and latent in archives. Here, archival research highlights specific issues concerning site studies, the role of authorship, the process of conservation in relation to use, as well as control over the presentation of the subject matter, and consequently demonstrates the significance of these issues to architectural design. The consideration and compilation of these issues form the main body of the thesis that simultaneously work as an archive. The interest in multiple interpretations is also explored in conjunction with the notion of allegory. This method develops Peter Bürger’s theory on ‘nonorganic’ works of art, which includes a study of Walter Benjamin’s analysis of Baroque allegory. Allegory in a nonorganic work of art emphasises a discursive and critical practice that enables multiple and contrasting ideas in the work to be made apparent. The thesis proposition explores

an allegorical and nonorganic reconstruction of a 16th century portrait of Queen Elizabeth I, currently displayed at the National Portrait Gallery in London. While the Tudor portrait originally used didactic allegory to yield different readings radiating from, and referring to, one source, exploring it as a nonorganic work further allows participation to such an extent that the interpretation of the portrait may only be completed by the response of the recipient. This method, thus, changes the tenor of the artwork, giving it contingent meaning specific to the recipient’s contexts. Significantly, the arguments for multiple interpretations is consistent with the differentiated, nuanced and embedded meanings residing within the portrait, which are raised in the process of archival research, and constitutes a method which may also be used to inform architectural design. Specific issues raised in this process include new ways to explore the architectural site, considerations with regard to questioning and defining the role of the architect, attention to the process and effects of building conservation, and lastly, the integration of design ideas with the presentation of the architectural project. The thesis proposes and demonstrates that engaging with multiple interpretations of context and meaning can create new, richer and more complex experiences in architectural production and discourse. Image: Constance Lau, ‘More than Remains: The Echoing Cedar’ 313

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Constance Lau Design by Means of Archival Research: Exploring the Notion of Multiple Interpretations and the Proposal for Another Ditchley Portrait Principal Supervisor: Professor Jonathan Hill Subsidiary Supervisor: Professor Jane Rendell

MPhil/PhD Architectural Design The Bartlett School of Architecture 2015

of architecture that distanced itself from any national or professional confines, thriving instead on displacement of people, ideas and images. Boyarsky embraced this peripatetic context – the growing national and professional mobility of architectural ideas, artefacts and educators – allowing his collections of popular picture The second half of the 20th century was a time of postcards, books, and drawings to become change marked by increased global mobility and powerful records of an emerging international the exchange of ideas, a context framed by the culture of the time. These collections acted as diversification of approaches that occurred at the itinerant sites of architectural production that confluence of modernism and postmodernism. absorbed a number of opposing categories and Responding to this context of dispersal and inspired novel pedagogical models that embraced fragmentation, the Canadian-born educator estrangement, opposition and resistance not only Alvin Boyarsky (1928-1990) acted as a collector as pragmatic opportunities conducive to global of ideas, drawings and people, and, consequently, economic change, but also as engines of a promoter of novel forms of architectural disciplinary transformation that erased pedagogy that affected architectural culture boundaries between academia and practice, worldwide. His transatlantic web of educational, the local and the global, and production and curatorial and publishing venues absorbed new consumption. In blurring such boundaries these disciplinary discourses and propelled careers of pedagogical experiments imploded traditional protagonists like Zaha Hadid, Bernard Tschumi, institutional, national and disciplinary structures and Rem Koolhaas, who in turn influenced and heralded a truly international era of architectural ideas and built work around the architectural education and practice. Rather than world. In giving such architects a highly visible mere globalisation of architecture, they signalled platform from which to launch their explorations, a more nuanced estrangement of architecture, Boyarsky effectively became not only an allowing foreignness and alienation to resurface educator but also a producer of culture that as globally significant identity categories whose greatly facilitated disciplinary self-reflection diverse narratives were only reconciled within at a time when the entire field was searching the loose framework of a collection and the for a new visual language. constantly shifting desires of its collector. As Boyarsky’s pedagogical experiments Image: Igor Marjanovic, ‘Home and Displacement’. Drawing assistants: Julia Roberts and Elisa Kim poured into practice, they engendered a form Igor Marjanović Pedagogy into Practice: Alvin Boyarsky’s Collections and the Estrangement of Architecture Principal Supervisor: Professor Jonathan Hill Subsidiary Supervisor: Professor Jane Rendell

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This thesis explores some of the ways in which the contexts of epistemology, ethics and designing architecture are each concerned with undecidable questions – that is, with those questions that have no right answers. Drawing on design research, second-order cybernetics and radical constructivism, I have understood this undecidability to follow in each case from our being part of the situation in which we are acting. This idea is primarily epistemological – being part of the world we observe, we cannot verify the relationship between our understanding and the world beyond our experience as it is impossible to observe the latter – but can also be interpreted spatially and ethically. The project develops connections between questions in architecture, epistemology and ethics in two parallel investigations. In the first, it proposes a connection between design and ethics where design is understood as an activity in which ethical questioning is implicit. Rather than the usual application of ethical theory to

practice, it instead proposes that design can inform ethical thinking, both in the context of designing architecture and also more generally, through (1) the ways designers approach what Rittel (1972) called ‘wicked problems’ and (2) the implicit consideration of others in design’s core methodology. In parallel to this the thesis explores the spatial sense of the idea that we are part of the world through a series of design investigations comprising projects set in everyday situations and other speculative drawings. Through these drawings, the project proposes reformulating the architectural theme of place, which is usually associated with phenomenology, in constructivist terms as the spatiality of observing our own observing and so as where the self-reference of epistemology – that we cannot experience the world beyond our experience – becomes manifest.

Image: Ben Sweeting, ‘Disalignment study (8), detail’, ink and pencil on tracing paper 315

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Ben Sweeting Architecture and Undecidability: Explorations in there Being No Right Answer: Some Intersections Between Epistemology, Ethics and Designing Architecture, Understood in Terms of Second-Order Cybernetics and Radical Constructivism Principal Supervisor: Professor Neil Spiller Subsidiary Supervisor: Professor Ranulph Glanville Acknowledgements: AHRC Doctoral Scholarship

MPhil/PhD Architectural Design The Bartlett School of Architecture 2015

Stefan White Gilles Deleuze and the Project of Architecture: An Expressionist Design-research Methodology Principle Supervisor: Dr Peg Rawes Subsidiary Supervisor: Professor Jonathan Hill This thesis analyses the potential of the Deleuzian philosophical concept of ‘expressionism’ in accounting for and driving architectural design and research. An expansive literature considering the import of Deleuze in architecture is characterised by his simultaneous use in both poles of debates concerning critical architecture at the centre of mainstream practice and as foundational source for minoritorian approaches to both design and research. Identifying this contemporary vacillation as a reiteration of traditional reductions of design to products or processes, and seeking development of an alternative trajectory, the thesis proposes the architectural project as an ‘embodied’ epistemological and ontological third term of an expressionist account of architectural design research. A series of critical encounters between philosophy and architecture exploring the accounts and practices of Robin Evans, Rem Koolhaas, Peter Eisenman and both professional and pedagogic design research undertaken by the author, articulate six key principles of a non-representational, expressionist methodology for design and research in architecture. First ‘expressionism’ insists on a substantive distinction between nominal and real denying 316

any essentialist component to architectural products or production. An encounter with Evans shows how architectural bodies both produce and are constituted by ‘projective relations’ external to architect, drawing and discipline. Koolhaas and Eisenman’s divergent positions then demonstrate how projective distinctions are always embodied in two actual forms that select content and express an exterior. Fifth, a design for a non-human ‘client’ makes explicit the parallel and serial nature of processes of selection and projection. Sixth, community-engaged design research demonstrates that active speculation towards positive change (outside of self and social habit) is a mechanism for the serial production of simultaneously ethical and aesthetical affective relationships. Extending and sharing the production of capabilities and powers of expression beyond the architect and architecture demonstrates the overarching principle of expressionism – affirmative speculation is correlative with the creation of ethical joy.

Image: Diagram of expressionism in architecture for a design research methodology

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technology shines onto architecture. Following Nicholas Negroponte’s ambition for a ‘humanism through machines,’ stated in his groundbreaking work, Soft Architecture Machines (1975), and inspired by recent developments in the emerging This thesis speculates about the possibility field of soft robotics, I have developed a series of softening architecture through machines. of practical design experiments, ranging from In deviating from traditional mechanical soft mechanical hybrids to soft machines made conceptions of machines based on autonomous, entirely from silicone and actuated by embedded functional and purely operational notions, pneumatics, to speculate about architectural the thesis proposes to conceive of machines as environments capable of interacting with humans. corporeal media in co-constituting relationships In a radical departure from traditional mechanical with human bodies. As machines become conceptions based on modalities of assembly, the corporeal (robots) and human bodies take design of these types of soft machines is derived on qualities of machines (cyborgs) the thesis from soft organisms such as molluscs (octopi, investigates their relations to architecture through snails, jellyfish) in order to infuse them with notions readings of William S. Burroughs’ proto-cyborgian of flexibility, compliance, sensitivity, passive novel The Soft Machine (1961) and Georges dynamics and spatial variability. Challenging Teyssot’s essay ‘Hybrid Architecture: An architecture’s alliance with notions of permanence Environment for the Prosthetic Body’ (2005), and monumentality, the thesis finally formulates arguing for a revision of architecture’s a critique of static typologisation of space with anthropocentric mandate in favour of walls, floors, columns or windows. In proposing technologically co-constituting body ideas. The an embodied architecture the thesis concludes by conceptual shift in man-machine relations is also speculating about architecture as a capacitated, demonstrated by discussion of two installations sensitive and sensual body informed by reciprocal shown at the Venice Biennale, Daniel Libeskind’s conditioning of constituent systems, materials, mechanical Three Lessons in Architecture (1985) morphologies and behaviours. and Philip Beesley’s responsive Hylozoic Ground (2010). As the purely mechanical model has been superseded by a model that incorporates digital sensing and embedded actuation, as well as soft and compliant materiality, the promise of softer, Image: Michael Wihart, ‘Epithelial Envelopes’, 2013, photograph of soft pneumatic actuator composites more sensitive and corporeal conceptions of Michael Wihart The Architecture of Soft Machines Principal Supervisor: Professor Neil Spiller Subsidiary Supervisor: Dr Marcos Cruz

MPhil/PhD Architectural History & Theory Programme Director: Dr Barbara Penner Programme Coordinator: Dr Penelope Haralambidou

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Current Students Wesley Aelbrecht, Tilo Amhoff, Sabina Andron, Gregorio Astengo, Pinar Aykac, Tal Bar, Ruth Bernatek, Rakan Budeiri, Mollie Claypool, Sevcan Ercan, Marcela Araguez Escobar, Stylianos Giamarelos, Nadia Gobova, Kate Jordan, Alex Kidd, Irene Kelly, Jeong Hye Kim, Torsten Lange, Claudio Leoni, Abigail Lockey, Kieran Mahon, Carlo Menon, Megan O’Shea, Dragan Pavlovic, Matthew Poulter, Regner Ramos, Sophie Read, Sarah Riviere, Ryan Ross, Ozayr Saloojee, Huda Tayob, Amy Thomas, Freya Wigzell, Danielle Willkens Graduating Students Kalliopi Amygdalou, Eva Branscome, Eray Çaylı

The Bartlett School of Architecture’s MPhil/PhD Architectural History & Theory programme allows students to conduct an exhaustive piece of research into an area of their own selection and definition. Great importance is placed on the originality of information uncovered, the creativity of the interpretations made, and the rigour of the methodological procedures adopted. Approximately 20-30 students from around the world are enrolled at any one time for MPhil/PhD research in this field. The range of research topics undertaken is broad, but most explore the history and theory of architecture and cities from c.1800 to the present day, with an emphasis on the critical reading of these subjects from cultural, political and experiential viewpoints. The MPhil/PhD Architectural History & Theory programme draws on the expertise and experience of The Bartlett School of Architecture’s team of architectural historians and theorists, who are recognised internationally for their contributions to the field. The programme itself is very dynamic, with an active series of talks, seminars, and conferences. In keeping with UCL’s multidisciplinary ethos, connections between architectural research and other fields are encouraged, and there are active collaborations with the departments of Anthropology, Fine Art, and UCL Urban Lab. We have established regular research exchanges with the Royal Academy of Music and Cornell University, and have a longstanding partnership with the Canadian Centre for Architecture through the Collection Research Grant programme. Current Supervisors Dr Jan Birksted, Professor Iain Borden, Dr Ben Campkin, Professor Mario Carpo, Professor Adrian Forty, Professor Murray Fraser, Dr Penelope Haralambidou, Professor Jonathan Hill, Dr Adrian Lahoud, Dr Carmen Mangion, Dr Barbara Penner, Dr Sophia Psarra, Dr Peg Rawes, Professor Jane Rendell, Dr Tania Sengupta Other Supervisors Dr Victor Buchli and Dr Ruth Mandel, UCL Anthropology; Dr Camillo Boano, Bartlett Development Planning Unit; Dr Stephanie Schwartz, UCL History of Art; Professor Timothy Mathews, UCL School of European Languages Culture and Society

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Recent research on multiple modernities and hybridity has brought under fruitful criticism earlier Eurocentric accounts that constructed non-Western countries as passive receivers of European modernism. It has revealed the complexity of interactions across geographies and brought into focus processes of crosspollination and interpretation, and the dimension of power and agency. However the majority of studies examine the relationship between a ‘Western’ and a ‘non-Western’ context, hence missing issues of influence and antagonism among the neighbouring ‘peripheral’ actors themselves. Building on this stream of scholarship and in response to this vacuum, my research examines the multi-directional flow of ideas and people between Western Europe, Turkey and Greece in the early 20th century, within the framework of modernisation and nationbuilding. Through this ‘triangulation’, it aims to contribute to the critique of constructed categories such as East-West bipolarities, to uncover unexplored interactions, and to address the complexity of drawing geographical and temporal borders.

The window through which this exploration takes place is the transition of two cities, Thessaloniki and Izmir, from the Ottoman context to two separate nation states. Having lost their minority communities and having been devastated by fire in 1917 and 1922 respectively, they were redesigned by French and English architects. Drawing from reader theory and critical studies on nation-building and modernisation, and based on extensive archival research in Greece, Turkey and France, the study explores the urbanist and architectural activity in these two cities during a period when identities were debated and (trans)formed as the Ottoman Empire was dissolved. The relevance of this research lies in its offering a new approach to the modern architectural history of Izmir and Thessaloniki, with wider implications in terms of historical analysis, in its uncovering of unvoiced aspects of the region’s encounters with its past and with the deemed West, and in its contribution to a critical re-reading of our past and present today.

Image: Cleaning works in Kültürpark, Izmir, 1930s. Source: APİKAM (Izmir City Archive and Museum), folder: APİKAM_A_ İBB_İZFAŞ_Görsel 319

The Bartlett School of Architecture 2015

Kalliopi Amygdalou A Tale of Two Cities in Search of a New Identity: The Politics of Heritage and Modernisation in Early 20th Century Izmir and Thessaloniki Principal Supervisor: Dr Jan Birksted Subsidiary Supervisor: Dr Penelope Haralambidou

MPhil/PhD Architectural History & Theory The Bartlett School of Architecture 2015

design and publishing clearly require a more diverse, complex and culturally nuanced account of architectural postmodernism than that offered by critics at the time. In this study, Hollein’s outputs are viewed not as individual projects for appropriation by architectural critics according to their particular agendas, but as symptomatic This thesis investigates the art and architecture scene in post-war Vienna to ask how this can of Austria’s attempts to come to terms with its Nazi inform our broader understanding of architectural past and to establish a post-war identity. While postmodernism. It specifically focuses on the Hollein’s concerns with the obsolescence of built various outputs of the Austrian artist and architecture and its replacement by mass media architect, Hans Hollein, and on his appropriation corresponded in certain respects with those of as a postmodernist figure. postmodernism, in other respects they were The study’s background in post-war Austria rooted in the sometimes violent, abusive and sits within a context of re-education initiatives by self-destructive practices of the Austrian avantthe Allied forces, especially from the USA. Yet within garde and its attitudes towards politics, religion, an Austrian culture still steeped in Catholicism, technology, infrastructure, advertisements and sex. American practices like abstract expressionism, This thesis explains why Hollein’s career can action painting and art happenings were offer a broader, deeper view of postmodernism, transformed in a remarkably original manner. one that is not so limited to style and formal One of the outcomes, Viennese Actionism, directly appearance, but rather emerges from a wider affected thinking about architecture through critique of the relationship between the creative the ‘performance environments’ that were arts, and of the relationship of architecture created. In Vienna, the circles of radical art and to society and history. The study hence puts architecture were not distinct, and Hollein’s claim forward a more complex reading of architectural that ‘everything is architecture’ was symptomatic postmodernism, moving beyond the usual of this intermixing of creative practices. Austria’s caricature of being a ‘style’ with its flat fiction proximity to the so-called ‘Iron Curtain’, and its of façades sporting classical pediments and post-war history of Four-Power occupation gave the obligatory bright strips of neon. a heightened sense of menace that emerged strongly in Viennese art in the Cold War era. Image: Inside an Austrian bubble: Hans Hollein’s ‘Mobile Office’ Seen as a collective entity, Hans Hollein’s project in 1969 was not just an action environment based on the minimal needs of the body, but was also a mediated production works across architecture, art, writing, exhibition Eva Branscome Hans Hollein and Postmodernism: Art and Architecture in Austria 1958-1985 Principal Supervisor: Professor Adrian Forty Subsidiary Supervisor: Professor Iain Borden

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MPhil/PhD Architectural History & Theory 321

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ethnography and archival research, the various spaces (both geographical and architectural) that have been subject to this demarcation and have hosted related examples of architectural memorialisation. These include the city and the building where the arson attack took place, a group of monuments and memorials across This dissertation investigates architecture’s role Turkey and in London, and those built in the in negotiating socio-political atrocities. It focuses aftermath of another atrocity in Germany on a case from Turkey, an arson attack that took that has come to serve as a reference case place on 2 July 1993 in the city of Sivas. The site for the memorialisation debate in Turkey. of this attack, the Madımak Hotel, has the quality The fundamental thesis is that the widespread of a prototypical case among the several sites of opinion in Turkey that regards the judicial atrocity in Turkey, which, over the past couple of treatment of atrocities such as Sivas ’93 as decades, have become subject to memorialisation flawed has imbued the sites where the atrocities projects – initially under the civil society took place (and those in which they are discussions known as ‘facing and reckoning architecturally memorialised) with a quasi-judicial with the past’ (in Turkish: geçmişle yüzleşme ve significance. The dissertation suggests that the hesaplaşma) and later as part of a larger process material-spatial logic of memorialisation as a of ‘post-coup democratisation’ endorsed by the quasi-judicial force resembles rather than resolve governing authorities. After continuing for many that of the violence with which it is intended years to serve commercial purposes, in 2011 the to help ‘face and reckon’. It concludes with a Madımak Hotel was expropriated and turned by discussion of what this resemblance might imply the state into a Science and Culture Centre, and with regards to methodological and theoretical an entire section of it called the ‘Memory Corner’ questions around temporality and agency in was dedicated to the 1993 atrocity. architectural memorialisation. The dissertation begins by analysing, both theoretically and empirically, the dynamics between violence and space. It discerns the inside-outside distinction as a fundamental material-spatial demarcation that has been both productive of and produced by the 1993 atrocity. Image: Eray Çaylı, ‘Madımak shall become a museum’, photograph, Sivas-Turkey, July 2011 The dissertation then goes on to study, through Eray Çaylı Building Witnesses: The Architecture of ‘Facing and Reckoning with the Past’ in the Case of Sivas ’93 Principal Supervisor: Dr Jan Birksted Subsidiary Supervisor: Dr Ruth Mandel

Pg Dip in Professional Practice & Management in Architecture (ARB/RIBA Part 3) Susan Ware

The Bartlett School of Architecture 2015

The Professional Studies team aim to educate and equip a generation of architects to practice in an increasingly diverse and challenging environment. We do this by providing teaching and learning which encourages students to develop the skills beyond those required at threshold level by the basic professional criteria through reflection, appraisal, critical enquiry and research. We ask students to examine the role of the architect in the changing global construction industry to examine the effect of politics and economics on the design and procurement of the built environment in future practice. We encourage students to explore an entrepreneurial approach to practice and business management in an increasingly competitive professional environment. The programme provides the students with the skills, knowledge, ability, judgment and integrity to be competent to practice and register as an architect through ARB and obtain Chartered Membership of the RIBA. The RIBA and ARB professional criteria are used as a basis to establish evidence of candidatesâ&#x20AC;&#x2122; fitness to practice, and threshold of competence (in terms of knowledge and ability) and professionalism (in terms of conduct and responsibility). However, the demanding programme aims to extend the students learning well beyond the minimum required for professional registration. The school draws extensively from long-standing connections with practice and the construction industry to deliver teaching and learning at the forefront of current practice The modular programme can be taken over 12, 18 or 24 months and is delivered through a comprehensive series of 55 lectures given by experts from practice and from within the Faculty. The structure allows for a diversity of delivery and assessment methods replicating real-life scenarios, roles and responsibilities from practice. A module coordinator, who is either a member of the Professional Studies team or an expert from practice, leads the teaching in each of the six modules. Students taking the final Module 6, the case study-based module, are supported by a team of tutors for a series of one-to-one tutorials. In addition the professional studies team provide a range of CPD short courses and other practice/registration-orientated courses.

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New Programmes

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MRes Architecture & Digital Theory Led by Professors FrĂŠdĂŠric Migayrou and Mario Carpo, the Masters by Research (MRes) Architecture & Digital Theory is dedicated to the theory, history, and criticism of digital design and digital fabrication. The intensive 12-month programme provides a grounding in research for students either trained in the design professions, or with a primary background in digital technology or the digital humanities, who are aiming at furthering their understanding of digital innovation. It is expected that in its inaugural years the programme will focus in particular on the challenge of complexity in computational design, and on its aesthetic, technological, economic and epistemological implications. Research topics currently under consideration include: agent-based conception; the new sciences of simulation, optimisation and form-finding; the transdisciplinary scalability of computational models; robotics and the engineering and modelisation of new materials and of variable property materials; and the history of digital notations and the demise of notational processes in the current data-driven computational environment. bit.ly/mresarchdigi MA Architecture & Historic Urban Environments The MA Architecture & Historic Urban Environments pioneers the development of a more diverse and creative approach to the reinterpretation and reuse of historical environments in cities around the world, such as through imaginative architectural designs and urban strategies, and including issues of cultural heritage. This 12-month programme is exceptional in linking the core research challenge of innovative design with in-depth processes of urban surveying, recording, mapping and analysis. As such, the programme has a strong international component, viewing cities around the world as fascinating laboratories for investigations into architectural and historic urban environments, with London being the prime example. Core modules include: Design Practice for Historic Environments; Design Research Methods for Historic Environments; Issues in Historic Urban Environments; Surveying and Recording of Cities; and Urban Redevelopment for Historic Environments. bit.ly/maarchhistoric

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Bartlett Short Courses

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The Bartlett School of Architecture’s short courses are aimed at school leavers, university students and professionals wishing to hone their skills. The courses give students a chance to experience life within the UK’s leading architecture school giving them access to cutting-edge facilities and staff. Courses include: Summer School This 10-day design-based course gives participants a first taste of studying architecture at UCL. The course attracts both young people still in their secondary education and school leavers considering creative careers. Summer Studio This tailored short course offers students already studying Architecture at different universities, or undertaking similar creative programmes, the opportunity to diversify their skills in a range of areas. Summer Skill-ups The Summer Skill-ups are intensive 5-day courses offering a wide range of computer and portfolio training to hone existing skills and develop new ones. These can be taken in conjunction with the longer Bartlett Summer Studio programme or as stand-alone courses.

Summer Special These specialist short courses offer students already studying Architecture at different universities, or undertaking similar creative programmes, the opportunity to diversify their skills in a particular field. Bartlett Springboard This is a new intensive studio specifically designed for Architects who wish extend the range of their work, under the guidance of Professor Sir Peter Cook RA. Pop-up Collaboration A series of tailor-made programmes offered to schools and universities wanting to gain an insight into the design approaches taught at The Bartlett School of Architecture. Postgraduate Certificate in Advanced Architectural Research (pgCAAR) This programme enables postgraduate students to take their work to a higher level of design and theoretical development in preparation for further study. bit.ly/b-shortcourses

Image: Bartlett Summer Studio, from the workshop ‘The Typology of your Life and the Life of Others’ by Carlos Jiménez Cenamor, Sarah Firth, Tom Svilans, Mara Kanthak and Thomas Pearce 324

Open Crits

Critics Caroline Bos, UNStudio; Kendra Byrne, Bot & Dolly; Peter Cook, CRAB Studio; Mario Carpo, The Bartlett UCL; Helen Castle, AD; Nat Chard, The Bartlett UCL; Kate Davies, The AA & Liquid Factory; David Garcia, The Royal Danish Academy of Fine Arts & MAP Architects; Sean Griffiths, FAT & University of Westminster; Paul Finch, World Architecture Festival & EMAP; Sara Franceschelli, The Bartlett UCL & ENS de Lyon; Christine Hawley, The Bartlett UCL; Charles Jencks; Zoe Laughlin, Institute of Making; Josep Miàs, The Bartlett UCL & MiAS Architects; Frédéric Migayrou, The Bartlett UCL & Centre Pompidou; Emmanuel Petit, The Bartlett UCL; Bob Sheil, The Bartlett UCL

Year 3 Participating Students Florence Bassa, Boon Yik Chung, Oliver Colman, Samuel Coulton, Thomas Cubitt, Patrick Dobson-Perez, Egmontas Geras, Niki-Marie Jansson, Sonia Magdziarz, Douglas Miller, Robert Newcombe, Nicole Teh Year 5 Participating Students Emily Doll, Gary Edwards, Maria EstebanCasañas, Helena Howard, Calum MacDonald, Jack Morton-Gransmore, Augustine Ong Wing, Greg Storrar, Josh Thomas, Tomas Tvarijonas Alumni Presentations Nick Elias, Louis Sullivan

Image: MArch Architecture Unit 12, Y5, student Helena Howard presents her work at the Open Crits 325

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Curated by Professors Frédéric Migayrou, Sir Peter Cook and Bob Sheil, this year, a group of distinguished external critics reviewed a selection of BSc Architecture Year 3 and MArch Architecture Year 5 design projects.

Bartlett Lectures

The Bartlett International Lecture Series Featuring speakers from across the world. Lectures in the series are open to the public and free to attend. This year’s speakers included:

The Bartlett School of Architecture 2015

Tatiana Bilbao Kendra Byrne Peter Cook Neil Denari Liz Diller Keller Easterling Frida Escobedo John Frazer Arthur Ganson

Greyshed Efrén Garcia Grinda Adrian Lahoud CJ Lim Adam Lowe Lucy McRae Frédéric Migayrou Cristina Díaz Moreno Vo Trong Nghia

Emmanuel Petit Steven Pippin Raj Rewal ScanLAB Benedetta Tagliabue Peter Testa Metta Ramsgaard Thomsen James Wines

The Bartlett International Lecture Series is generously supported by the Fletcher Priest Trust A range of additional lecture series’ attracted a wide range of speakers, including: Bartlett Plexus Paul Bavister, Richard Beckett, Tom Beddard, Niccolo Casas, Sam Conran, Xavier De Kestelier, Felix Faire, Filamentrics, Daniel Franke, Kostas Grigoriadis, Soomeen Hahm, Alex Haw, Istvan, Saša Jokic, Tobias Klein, Kreider + O’Leary, Samantha Lee, Owen Lloyd, Andy Lomas, Oliviu LugojanGhenciu, Marshmallow Laser Feast, Emma-Kate Matthews, Ricardo O’Nascimento, Clemens Preisinger, David Reeves, Yuri Suzuki, Frederik Vanhoutte Material Matters Adrian Bowyer, Vincent Loubière, Sophie de Oliveira Barata, Aran Chadwick Jan Knippers, Edwin Stokes, Daniel Cardoso Llach, Sara Klomps Designing for Sound Paul Bavister, Mike Harding, Benjamin Hebbert, Ian Knowles, John Levack Drever, Tomas Mendez, David McAlpine Situating Architecture Peter Bishop, Iain Borden, Ben Campkin, Mario Carpo, Claire Colebrook, Edward Denison, Murray Fraser, Stephen Loo, Clare Melhuish, Frédéric Migayrou, Barbara Penner, Emmanuel Petit, Sophia Psarra, Peg Rawes, Jane Rendell, Harriet Richardson, Tania Sengupta, Nina Vollenbröker, Robin Wilson 326

Sir Banister Fletcher Visiting Professorship

The Bartlett School of Architecture 2015

Sir Banister ‘Flight’ Fletcher (1866–1953) was an English architect and architectural historian. He trained at King’s College London and University College London, and joined his father’s practice (also Sir Banister Fletcher) in 1884, also studying at the Royal Academy Schools, the Architectural Association, and the École des Beaux-Arts, Paris. Father and son co-authored the seminal textbook A History of Architecture on the Comparative Method (London: Athlone Press, University of London, 1896- [issued serially], first single-volume edition, London: B.T. Batsford and New York: C. Scribner’s Sons, 1896). In his will, he left a bequest to The Bartlett School of Architecture inaugurating an annual student prize, the Sir Banister Fletcher Medal, in memory of his father, brother and himself, and a bequest to provide funds for an academic chair, now inaugurated as a Visiting Professorship. This year’s Sir Banister Fletcher Visiting Professor was distinguished architect, writer, and teacher Dr Emmanuel Petit. Dr Petit has taught at Yale, Harvard, and MIT as Associate Professor and Visiting Associate Professor. He received his PhD and MA from Princeton University, and an MSc in architecture from the Swiss Federal Institute in Zurich (ETH). He is author of Irony, or The Self-Critical Opacity of Postmodern Architecture (2013), supported by the Graham Foundation and nominated by Princeton for the 2013 Gustave O. Arlt Award in the Humanities; editor of Reckoning with Colin Rowe: Ten Architects Take Position (forthcoming 2015); Schlepping through Ambivalence: Writings on an American Architectural Condition (2011); and Philip Johnson: The Constancy of Change (2009). Petit has curated exhibitions on Peter Eisenman, Jim Stirling, and Stanley Tigerman; he has published on topics relating to architectural theory, formalism, and postmodernity in international journals, including Architectural Review, JSAH, Perspecta, Harvard Design Magazine, JAE, LOG, The Journal of Architecture, Archithese, Project. As part of his Visiting Professorship at The Bartlett School of Architecture Dr Petit gave three Sir Banister Fletcher Lectures: Under the Dome: The Architecture of an Other Modernity In Spheres Air of Utopia The Sir Banister Fletcher Visiting Professorship 2015-16 will be announced this Summer. Bartlett lectures can be viewed online: bit.ly/bartlettlectures

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Bartlett School of Architecture Staff & Consultants

Chair of School Professor Frédéric Migayrou Bartlett Professor of Architecture B-Pro Director Director of School Professor Bob Sheil Professor of Architecture and Design through Production Director of Technology

The Bartlett School of Architecture 2015

Professors, Visiting Professors and Stream Directors Robert Aish Visiting Professor Laura Allen Senior Lecturer Director of Publications & Public Events Professor Peter Bishop Professor of Urban Design Director of Enterprise Professor Iain Borden Professor of Architecture & Urban Culture Vice Dean Education Professor Mario Carpo Reyner Banham Professor of Architectural History & Theory Director of History & Theory Professor Nat Chard Professor of Experimental Architecture BSc Architecture Year 1 Co-Director

Professor Murray Fraser Professor of Architecture & Global Culture Vice Dean of Research Professor Stephen Gage Emeritus Professor of Innovative Technology

Oliver Wilton Lecturer in Environmental Design Director of Education

Professor Christine Hawley Professor of Architectural Studies Director of Design

Programme Directors / Leaders and Coordinators

Professor Jonathan Hill Professor of Architecture & Visual Theory MPhil/PhD by Design Programme Director

Alisa Andrasek Reader in Advanced Architectural Computation MArch AD Programme Leader

Professor CJ Lim Professor of Architecture & Cultural Design Director of International Affairs Dr Yeoryia Manolopoulou Senior Lecturer Director of Architectural Research Josep Miàs Visiting Professor Níall McLaughlin Visiting Professor Dr Emmanuel Petit Sir Banister Fletcher Visiting Professor Frosso Pimenides Senior Lecturer BSc Architecture Year 1 Co-Director

Dr Marjan Colletti Senior Lecturer Director of Computing

Professor Jane Rendell Professor of Architecture & Art

Professor Peter Cook Emeritus Professor

Susan Ware Sub-Dean and Faculty Tutor Director of Professional Studies Part 3 Programme Director

Professor Adrian Forty Professor of Architectural History Principal Research Associate

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Mark Whitby Visiting Professor in Structural Engineering

Julia Backhaus MArch Architecture Programme Director Matthew Butcher Lecturer in Architecture and Performance BSc Architecture Programme Co-Director Dr Ben Campkin Senior Lecturer in History & Theory Director of Urban Lab Coordinator Year 3 History & Theory

Dirk Krolikowski Lecturer in Innovative Technology & Design Practice Coordinator of Year 4 Design Realisation Dr Adrian Lahoud Reader in Urban Design MArch UD Programme Leader James O’Leary Lecturer in Innovative Technology & Design Practice Coordinator of Year 4 Design Realisation Dr Barbara Penner Senior Lecturer BSc Architectural & Interdisciplinary Studies Programme Co-Director MPhil/PhD History & Theory Programme Director Frosso Pimenides Senior Lecturer BSc Architecture Year 1 Co-Director Andrew Porter Principal Teaching Fellow B-Pro Deputy Director

Mollie Claypool Teaching Fellow BSc Architecture Programme Co-Director

Dr Peg Rawes Senior Lecturer MA Architectural History Programme Director

Dr Edward Denison Research Associate MPhil/PhD History & Theory Programme Director (Sabbatical cover)

Peter Scully Technical Director of B-made

Elizabeth Dow BSc Architectural & Interdisciplinary Studies Programme Co-Director Dr Penelope Haralambidou Lecturer in Architecture Coordinator of MPhil / PhD by Design

Dr Tania Sengupta Lecturer in Architectural History & Theory Coordinator of Year 4 History & Theory Mark Smout Senior Lecturer Coordinator of Year 5 Thesis Patrick Weber Senior Lecturer Coordinator of Pedagogic Affairs

Andrew Thom Senior Research Associate Survey of London

Yannis Aesopos Affiliate Academic

Teaching Staff

Abeer Al-Saud Affiliate Academic Dr Marcos Cruz Reader in Architecture Tom Dyckhoff Honorary Research Fellow

Tim Lucas Lecturer in Structural Design

Research Fellows and Associates Izaskun Chinchilla Moreno Senior Research Fellow Peter Guillery Senior Research Associate Survey of London Sally Hart Research Assistant Helen Jones Technical Survey and Graphics Officer Survey of London Aileen Reid Research Associate Survey of London Harriet Richardson Research Associate Survey of London Andrew Saint Principal Research Associate and General Editor Survey of London Philip Temple Senior Research Associate Survey of London

BSc Architecture Year 2 / Year 3 (UG0-UG10) Julia Backhaus Pascal Bronner Rhys Cannon Pedro Font-Alba Murray Fraser Christine Hawley Colin Herperger Thomas Hillier Damjan Iliev Jessica In Jan Kattein Julia King Julian Krueger Chee-Kit Lai Justin C.K. Lau Guan Lee Ana Monrabal-Cook Luke Pearson Sara Shafiei Sabine Storp Martin Tang Peter Webb Patrick Weber Paolo Zaide BSc Architectural Studies (Architectural & Interdisciplinary Studies) Elizabeth Dow Kevin Green Chee-Kit Lai Barbara Penner Brent Pilkey Freddy Tuppen

Professional Studies Kit Allsopp Chris Askew Carmel Lewin Jonathan Kendall Victoria Perry Liz Pickard Simon Pilling Susan Ware Katy Wood History & Theory Tilo Amhoff Doreen Bernath Ben Campkin Megha Chand Edward Denison Oliver Domeisen Eva Eylers Adrian Forty Daisy Froud Christophe Gerard Jon Goodbun

Anne Hultsch Jacob Paskins Barbara Penner Brent Pilkey Peg Rawes David Reat Jane Rendell Tania Sengupta Brian Stater Rachel Stevenson Amy Thomas Nina Vollenbröker Robin Wilson Technology, Computing & Open Classes Robert Aish Sebastian Andia Bartek Arendt Scott Batty Richard Beckett Isaïe Bloch William Bondin Dağhan Cam Rhys Cannon Ed Clarke Ralf Garbara Jean Garrett Octavian Gheorghiu Sarah Graham Justin Goodyer Michael Hadi James Hampton Bill Hodgson Manuel Jimenez Garcia Steve Johnson Immanuel Koh Antonios Lalos Enriqueta Llabres Andy Lomas Tim Lucas Osman Marfo-Gyasi Niloy Mitra Samaneh Moafi Iker Mugarra Luke Olsen Igor Pantic Thomas Pearce Maj Plemenitas Gilles Retsin Javier Ruiz Rodriguez Matthew Shaw Vicente Soler Adam Sutcliffe Will Trossell Maria Eugenia Villafañe Barry Wark Mark Whitby

The Bartlett School of Architecture 2015

Ruairi Glynn Lecturer in Interactive Architecture

BSc Architecture Year 1 Dimitris Argyros Nat Chard Tamsin Hanke Lucy Leonard Ifigeneia Liangi Brian O’Reilly Frosso Pimenides Frederik Petersen Eva Ravnborg Emmanouil Stavrakakis Catrina Stewart Emmanuel Vercruysse

MArch Architecture Year 4 / Year 5 (Units 10-24) Laura Allen Abigail Ashton Richard Beckett Johan Berglund Kyle Buchanan Matthew Butcher Izaskun Chinchilla Moreno Mollie Claypool Marjan Colletti Marcos Cruz Bernd Felsinger Penelope Haralambidou Colin Herperger Jonathan Hill Nannette Jackowski Carlos Jiménez Cenamor Manuel Jimenez Garcia Simon Kennedy CJ Lim Yeoryia Manolopoulou Niall McLaughlin Josep Mias Ricardo de Ostos Dean Pike Andrew Porter Aleksandrina Rizova Stefan Rutzinger Kristina Schinegger Mark Smout Michiko Sumi Michael Tite Emmanuel Vercruysse

Bartlett School of Architecture Staff & Consultants

Academic and Honorary Staff

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Bartlett School of Architecture Staff & Consultants

Andrew Whiting Oliver Wilton Manja van de Worp

The Bartlett School of Architecture 2015

Dissertation, Design Realisation and Thesis Tutors Hector Altamirano Andy Barnett Matthew Barnett-Howland Iain Borden Andrew Budgen Ben Campkin Simon Carter Nat Chard Edward Denison Oliver Domeisen Murray Fraser Daisy Froud Stephen Gage Gary Grant Penelope Haralambidou Christine Hawley Anne Hultzsch Dirk Krolikowski Zoe Laughlin Guan Lee Stephen Lorimer Luke Lowings Tim Lucas Abel Maciel Anna Mavrogianni Hugo Nowell James O’Leary Harry Parr Luke Pearson Emmanuel Petit Hareth Pochee Hilary Powell Sophia Psarra Rokia Raslan Peg Rawes Jane Rendell David Rudlin Tania Sengupta Bob Sheil Mark Smout Nina Vollenbröker Tim Waterman Robin Wilson Oliver Wilton B-Pro MArch Architectural Design Alisa Andrasek Steffan Bassing Richard Beckett William Bondin 330

Dağhan Cam Marcos Cruz Ruairi Glynn Soomeen Hahm Manuel Jimenez Garcia Guan Lee Christopher Leung Gilles Retsin Javier Ruiz Rodriguez Vicente Soler Daniel Widrig

Haley Newman Jayne Parker Barbara Penner Peg Rawes Jane Rendell Tania Sengupta Bob Sheil Mark Smout Neil Spiller Philip Steadman Philip Tabor

B-Pro MArch Urban Design Zachary Fluker Platon Issaias Sam Jacoby Adrian Lahoud Enriqueta Llabres Samaneh Moafi Claudia Pasquero Godofredo Pereira Maj Plemenitas Eduardo Rico Camila Sotomayor

Short Courses Peter Cook Bill Hodgson Carlos Jiménez Cenamor Sabine Storp

MA Architectural History Iain Borden Mario Carpo Jane Rendell Peg Rawes Robin Wilson MPhil / PhD Architectural Design MPhil / PhD Architectural History & Theory Jan Birksted Iain Borden Victor Buchli Ben Campkin Marjan Colletti Claire Colomb Peter Cook Marcos Cruz Julio Davila Silva Michael Edwards Adrian Forty Colin Fournier Stephen Gage Matthew Gandy Sean Hanna Penelope Haralambidou Christine Hawley Jonathan Hill Adrian Lahoud Ruth Mandel Carmen Mangion Yeoryia Manolopoulou

Admissions Julia Backhaus Mollie Claypool Jonathan Hill Barbara Penner Andrew Porter Peg Rawes

Professional Services Reception Mark Burgess PA to Chair & Director Meredith Wilson Academic Services Administration Izzy Blackburn Michelle Bush Emer Girling Eleni Goule James Lancaster Tom Mole Research and Enterprise Luis Rego Kimberley Steed German Communications Laura Cherry Jean Garrett Michelle Lukins Finance and HR Feruza Kulturaeva Stoll Michael Faizah Nadeem Rita Prajapati

Professional Studies Administration Indigo Rohrer Naz Siddique Facilities Graeme Kennett Bernie Ococ B-made, Bartlett Manufacturing and Design Exchange Abi Abdolwahabi Richard Beckett William Bondin Matt Bowles Martyn Carter Bim Burton Inigo Dodd Justin Goodyer Olga Linardou Robert Randall Peter Scully Paul Smoothy Nick Westby

The demolition of 22 Gordon Street (formerly Wates House)

bartlett.ucl.ac.uk/architecture

Publisher The Bartlett School of Architecture, UCL Editors Frédéric Migayrou, Bob Sheil Editorial Coordination Laura Allen, Laura Cherry, Michelle Lukins Graphic Design Patrick Morrissey, Unlimited weareunlimited.co.uk Photography Stonehouse Photographic Paul Smoothy Copyright 2015 The Bartlett School of Architecture, UCL No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. ISBN 978-0-9929485-3-5

For more information on all the programmes and modules at The Bartlett Faculty of the Built Environment, UCL, visit bartlett.ucl.ac.uk The Bartlett School of Architecture, UCL 140 Hampstead Road London NW1 2BX +44 (0)20 3108 9646 architecture@ucl.ac.uk Twitter: @BartlettArchUCL Facebook: facebook.com/ BartlettArchitectureUCL Instagram: bartlettarchucl Vimeo: vimeo.com/bartlettarchucl

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