University of Bath Architecture Annual 2021

B A T H

A N N U A L

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B A T H 2 0 2 1

A RC HI T E C T URE A NNUA L

U NI V E R S I T Y OF B AT H

2021

COVER Working From Home in Studio

COVER IMAGE: Chong Sue Yen

CONTRIBUTORS: Aisha Al-Obaidi Ifrah Ariff Rebekah Ball Michele Chee Chong Sue Yen Fannia Chung Giles Davis Shutong Fan Ryan Hillier Caleb Lee Meg Marumoto Chrysostomos Neocleous Piers Riordan Markos Spyrides Sebastian Syrjanen Vincent Tam Jing Hui Tay Jasmine Turner Chew Shan Wei Eve Wheller

FORE WORD

This annual illustrates the finding and following of the pathways. Pathways which, strung together, form the educational journey of architecture students at the University of Bath since that autumn day when we took our first steps into 4ES. Now, at the end of our undergraduate studies, the creation of this yearbook has given us a chance to reflect and reminisce - an experience we hope to extend to our readers.

Our first project was a simple one: design and build a chair. However, the chair had to ‘float’. From there our chaotic university days began. Working alongside engineering students, we learnt the value (and frustration) of hand drawing, model making and collaboration. There were late nights, hurried hand-ins and a few tears, but also new friendships, triumphs and many laughs; all against the backdrop of the Studio.

Yet, even as we got comfortable, change loomed. At the end of our second year, we dispersed across the globe to gain experience in the industry – the ‘real’ world. Each of us learnt and grew, developing new skills and perspectives, so that when we returned in third year it felt like we were meeting for the first time. There were some real new faces in the mix too, as we welcomed the Erasmus students who, during their too short stay, were a breath of fresh air.

Fourth year had a fairly dismal start. With Studio mostly closed, we struggled with remote working; separated, sometimes across time zones, from our teammates and friends. But despite these challenges there were some perks, one of which was our site - New York City! This dynamic setting provided the perfect opportunity to go taller, bolder and just plain crazy, beginning with the Ted Project. Architecture and Engineering students reunited to design a global library for the United Nations, on a site nestled amidst the vertical Manhattan skyline.

In second semester, we spread out across the wider New York cityscape, choosing sites to house our individual projects. In true Bath style, our narratives responded to local contexts, social issues and environmental challenges. Yet, for the first time we could also incorporate interests that were wholly our own. The result of which is a plethora of diverse and personal projects; we hope you enjoy them!

All in all, when one chapter closes, the next one begins. As our head of year would say: “Bon Courage!”

YEARBOOK TEAM Graduating 4th Year students

P UBLISHING

Thank you to all students, tutors and staff for their contribution.

Department of Architecture and Civil Engineering University of Bath Bath BA2 7AY United Kingdom Telephone: +44 (0) 1225 385394 E-mail: ace@bath.ac.uk Website: www.bath.ac.uk/departments/department-ofarchitecture-civil-engineering/ 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.

For further information and full range of programmes please see University of Bath Undergraduate and Graduate Prospectus.

BLDA are proud to support the Bath annual, especially in 2021

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Assembly, Bristol image by AHMM

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CONTENTS

1ST YEAR

1

2ND YEAR

3

3RD YEAR

5

4TH YEAR

7

Happold Foundation Project

9

Individual Projects

39

5TH YEAR

189

6TH YEAR

191

BSC ARCHITECTURE | YE AR 1

YEAR 1

SEMESTER 1

SOLUS – PROJECT 1 The Covid pandemic has variously been understood as a catastrophe facing individuals and humanity alike or, with all appropriate reverence to all those who have been profoundly affected by the virus – a confrontation with ourselves, and the chance to a re-evaluate what we collectively stand for. In the West at least the twin cults of individualism and laissez-faire global capitalism have bequeathed to us all an environmental, psychological and political crisis. Whether we consider ourselves an extrovert, introvert or “intervert”, and whether we are agoraphobic or claustrophobic, lone wolf or party animal we all face a moral mirror. So….the project, conducted in groups of architects and engineers was to design a cell in which to consider and survive the consequences!

S T U D I O C O O R D I N ATO R:M A R T I N G L ED H I L L / T I M RO LT

Group 38: Iliana Grimaneli, Joshua Hollis, George Maltby, Mi-Ha Snapes Group 46: Kaya Cairney, Jack Johnson, Kai Suzuki, Georgina Tranter-Edwards Group 56: Kathryn Lee, Thomas Stanbury, Mengzhi Xu, Cici Zhao

Proposed Floor Plans

SEMESTER 2 Singular opening providing a point source of light into the space. Light channelled through a ‘funnel’ to minimise the light spill and better focus the light

REPAR ATION - PRO JEC T 1 On the 25th May 2020 a young black American, George Floyd, was murdered by white police officers in Minneapolis. The event ignited an outpouring of indignant and repressed anger that led to a wave of mass protests across the United States and the wider world.

Storage

Accessible W.C

RL Over

Entrance Lobby

Doors on the main façades (facing public view) to be detailed as ‘hidden’ doors, flush with facade line

Covered intermediary ‘lobby’ space to give additional privacy to the main space within and minimising the impact of light from outside

cpd

RL Over

External Lobby

Principal Space

Perforated facade to front face of principal mass - formed of 25mm vertical fins at unequal intervals

Kitchen

Office cpd

Ceiling vaulted to follow profile of roof

One such protest took place in Bristol after which the statue of Edward Colston was torn from its plinth and unceremoniously dumped in Bristol’s historic docks.

Kitchen

Entrance Lobby

Structure hidden within wall construction

Perforated screen over windows to minimise impact Gravel strip to perimeter of building to manage water runoff from roof and prevent staining of surrounding landscape

Images credits (from top): Group 56, Group 46, Group 38, James Goodwin

Section A-A 1:60 @ A3

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Proposed Floor Plan (1:60 @ A3) Design Studio 1.2 | REPA RAT I O N | James Goodwin

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The project posed the question ‘what should fill the void created by the removal of Colston’s statue?’ and, in response, students were invited to design a building that could serve as a vehicle for public acknowledgement, recognition, and reflection on Bristol’s role in the Slave Trade and the present-day legacy of that history.

BSC ARCHITECTURE | YE AR 1

What led to these events is a history of racism that has its origins in the Transatlantic Slave Trade – a trading system which colonial Britain and the City of Bristol was inextricably involved and yet has been largely white-washed from its collective.

DESIGN DESIGN DEVELOPMENT DEVELOPMENT DESIGN DEVELOPMENT External Perspective I was experimenting initially experimenting with fluid II was was initially initially experimenting with with fluid fluid shapes thatfold would fold around theof form of shapes shapes that that would would fold around around the the form form of the site, reflecting the walkway previously the the site, site, reflecting reflecting the the walkway walkway previously previously being part of the river. being being part part ofof the the river. river.

However, to something create something However, However, II wanted wantedI wanted to to create create something gave to tribute to the individuality that that gave gavethat tribute tribute to the the individuality individuality ofof the theof the victim, as all my research revealed how victim, victim, as as all all my my research research revealed revealed how how much their identities were stripped and much much their their identities identities were were stripped stripped and and rewritten. rewritten. rewritten.

I came up with the concept of having

II came came up up with with the the concept concept ofof having having uniquely indented columns continuously uniquely uniquelythroughout indented indented columns columns continuously the site. continuously throughout throughout the the site. site.

My final idea was an amalgamation of

My My final final idea idea was was an an amalgamation amalgamation ofof these concepts.

these these concepts. concepts.

COMMUNE - PROJECT 2

T IT LE 1:50 SECT ION - DWELLINGS

Whether trapped in poverty, suppressed by inequality, or simply caught on the treadmill of high-pressured working environments, we appear to be witnessing ever higher levels of stress, anxiety, and other negative impacts on physical and mental health.

More recently, the threats of the pandemic and the growing climate emergency have cast a shadow across a world where, for many, the familiar securities of the past are replaced by a rapidly changing present and an insecure and unknown future.

Ceramic tiles

Local sessile oak

Stained sessile oak

14 EXTERNAL PERSPECTIVE View from the courtyard

At its heart, the project invited students to explore how architecture has the potential to create environments that can assist in ameliorating the malign effects of stress, anxiety or life-traumas experienced by a group of people in their everyday lives.

S T U D I O C O O R D I N ATO R: M A R T I N G L ED H I L L / T I M RO LT

3 The project drew on the themes explored in 33 the first project, Solus, and extended these to the design of a more complex building to accommodate the physical and emotional needs of a group of people at both an individual and communal level.

In posing this question the project deliberately limited the experiential horizon to that contained within a walled enclosure set on a fictitious island, thereby demanding great focus on the essential qualities of the environment created within

COMMUNE JOHANNA LUPP

Image credits (from top): Alice Snelson, Zarghona Khan, Nikita Finch, Shiqi Wang, Yuka Ho, Johanna Lupp

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BSC ARCHITECTURE | YE AR 2

YEAR 2 In second year the design projects became slightly larger and more complex.

The emphasis was on analysis. The analysis of brief and site to create a design solution in a rational and deterministic manner.

The students developed key skills that will underpin their ‘working method’ as they develop as designers.

Context was seen as a major driver for the designs and ‘Response to Context’ was one of the three ‘Intended Learning Outcomes’.

The other two being ‘Responding to a Given Brief’ and ‘Presentation’.

S T U D I O C O O RD I N ATO R: D O M I N I C TAY LO R

HOUSING - PROJECT 1 New for this year was ‘Housing’ as the first second year project. This was done in small groups and the students study and explore various generic housing types and discover how they can be tailored to certain situations. Terraced, detached, courtyard, south facing, dual aspect, any type could be utilised.

Students designed a hamlet-sized development located within the village of Coombe Down. They were required to respond formally to the existing urban grain, the site orientation, site layout, as well as the local materials and detail.

(Predominantly natural stone and Bath stone or Ashlar). The students designed approximately 20-30 houses of various types and sizes and the associated hard and soft landscaping. (Both for the houses and new public spaces.)

As part of this first exercise they masterplanned the site and identifed the best locations for key community buildings: Community hub, Nursery school, Community offices etc.

Images credits (from top left): Group 4A, Group 10A (images 2,3), Group 13B (images 4,5,6)

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External Perspectives

MAIN ENTRANCE PERSPECTIVE

INTERNAL HALLWAY PERSPECTIVE

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INTERNAL LIBRARY PERSPCTIVE

PLAYGROUND PERSPECTIVE 47

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The students chose to design either a Nursery school or a Community Hub (Village Hall).

PERSPECTIVES

The site for the second project relatesd to both the existing village buildings and spaces; and the new proposed housing and its associated landscaping.

The building briefs were more complex than any the students had tackled before and allowed for more scope in architectural order and spatial hierarchy. Plans comprised or included various orders: courtyard, linear, radial or fan shaped orders were just a few of the options.

S T U D I O C O O RD I N ATO R: D O M I N I C TAY LO R

A COMMUNITY BUILDING PROJECT 2

The students could ‘revisit’ the site plan that they created in project one and if they felt it, or the housing, needed revision in the light of things learnt in Project two they did so.

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Plan 1:200

Image credits (from top): Joe Sellens, Loren Brundett (images 2, 3), Natalie Yeung, Graham Taylor, Alex Cook PG. 12

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VIEW FROM THE AVENUE

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BSC ARCHITECTURE | YE AR 3

YEAR 3 The theme for third year was alternative cultures. Through a critically reflective approach, we questioned our own preconceptions. We sought to understand and interpret complex cultural and geographical contexts and asked how we might engage in a socially and ecologically responsible way. The semester consisted of 2 projects, both set in New York city.

S T U D I O C O O RD I N ATO R: RO B G ROV ER

[S U B] C U LT U RE PROJECT 1 Project 1 was centred around the idea of re-use. It asked how creative transformation of buildings might lead to sustainable intervention and challenge traditional urban hierarchies and power. It was a joint project with the Civil Engineering students and lasted five weeks. Students worked in groups: collaborative and crossdisciplinary working was essential. The site was the IRT Powerhouse in Manhattan. In this dramatic space we practised a “reverse architecture” involving taking elements away and working with what was found. The building had to act as a [sub] cultural centre to support a range of community activities.

It had to be a space that was truly free and accessible to all, an extension of the public realm of the city. Students were free to define their own brief but typically included spaces for community performance, community exhibition, meeting space and recreation space.

Images credits (from top): Group 8, Group 24, Group 4, Group 36

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Culture week was a chance to take a break from the studio allowing us to explore New York through its cultural artefacts. Films, literature, art, and ephemera were all used to construct individual interpretations of New York. Students made a series of short films about the city which were then exhibited in a film day at the end of the week. These were supplemented by lectures and discussions with film makers including Ken Loach.

BSC ARCHITECTURE | YE AR 3

C U LT U RE WEEK

DISSIDENT ARCHIVE PROJECT 2 S T U D I O C O O RD I N ATO R: RO B G ROV ER

Project 2 continued to explore themes addressed in project 1.

The project addressed a range of contemporary social and environmental challenges.

It considered how architecture may represent marginalised voices dealing with communities, activism, and engagement, making an architecture that is of, and for, the public. Students were required to design a repository; a space to store and catalogue specific items. It could store film, photography or ephemera relating to a history of protest in New York and the USA. It provided a space to tell untold stories and alternative histories.

The building could represent a specific group of people or focus on a set of events. This might be something of personal interest or relevance. Alternatively, it might house a broad range of activist materials and provide a space for multiple conflicting narratives and debate.

Image credits (from top): Elliot Judd, Nicholas Ratcliffe, Louis Bartlett, Cormac Miller

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BSC ARCHITECTURE | YE AR 4

YEAR 4 GROUP PROJECT

S T U D I O C O O RD I N ATO R: M AT T H E W W I C K EN S

LOCATION: NE W YORK CIT Y

This year’s projects were both set in New York – we travelled in our collective mind’s eye, even if we weren’t able to in reality.

TED (the newly created version of the joint project - previously known as The Basil Spence Project – now sponsored by the Happold Foundation) was entitled Babel A mixture of sounds and voices, especially in different languages - and the individual project entitled E Pluribus Unum - meaning ‘out of many, one’. And so, the scene was set for the year. How would we cohere a cohort from all corners of the globe, and make one year from disparate individuals, and one brief each from many spaces, and take part in a joint endeavour while alone? And I hope you agree that the results in these pages attest to the answer being, “with great success and in spite of the adversity!”

The inaugural year of the Happold Foundation Project (Basil is dead, long live Ted!) was a ‘Library for the World’ adjacent to the current UN headquarters on the East River, calling for an archive and 3 reading rooms, each for a different audience, one acting as a ‘living room for the city’. Each student was then able to explore a theme of their choosing anywhere in the 5 boroughs and these range from Yonkers in the Bronx in the north to Staten Island in the south and Hudson Yards, Manhattan, in the west to Jamaica, Queens, in the east. All produced with care, concern, and rigour throughout.

Matthew Wickens 4th Year Studio Coordinator

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Where is Home?

Where did you spend Most of the Academic Year?

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PRODUCED BY AN AUTODESK STUDENT VERSION

BSC ARCHITECTURE | YE AR 4

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

EXTINCTION H A P P O L D FO U N DAT I O N P RO J EC T

Group 01 Sophie Atkinson, Christopher Gough, Jack Haliday, Anadya Kukreja, Gabriel McGuigan, Annabel Taylor, Joanna Walmsley

LEARNING THROUGH LANGUAGE

GROUP 01

Approaching the library from the North you see an expanse of glazing, attracting your attention to the internal activity of the atrium. Colonnaded structure expresses the nodal points of the building, emphasising the importance of these spaces from ground level. The flexible atrium is a focal point at plinth level, connecting to the exhibition spaces.

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Visible glass lifts connect the entire building vertically, providing access to all spaces. Each reading room is tailored to specific users, while allowing the crosspollination of people. Here you also have a visual connection to the server room, where digital archive material is stored. Moving up to the planted roof terrace, you arrive at the start of the vertical story garden.

Climbing the vertical story garden reveals specific spaces for interaction, story telling and relaxation. These take the form of audio pods, story circles and informal seating. The culmination of the building journey is the top floor. Here the internal planting meets our auditorium, in the form of a timber geodesic dome, providing an intimate story telling space.

BSC ARCHITECTURE | YE AR 4

SUCCESSION Group 02

THE CYCLE OF KNOWLEDGE

H A P P O L D FO U N DAT I O N P RO J EC T

Ifrah Ariff, Jake Danson, Pierce Coveney, Sebastian Syrjänen, Sue Yen Chong, Winnie Ng

The UN Library invites the wider public to develop innovative solutions to mitigate timeless global issues such as sanitation and natural disasters. The library’s archives house a collection of associated technical drawings, prototypes and literature.

The structure is anchored on each corner by reinforced concrete service cores and shear walls, which lend their stiffness, durability and flood resilience to the building’s 150-year life. The heavy concrete structure supports a lightweight CLT/ glulam structure above, looking towards the future of more sustainable high-rise construction.

GROUP 02

Ascending the building, the spatial programme and external envelope reflects the progression of human innovation as three interlocking volumes representing knowledge of the past (archives), present (auditorium), and future (public library).

The increasingly outward-looking spaces connect more to the transient urban context going up.

The UN Library is a dialogue between the past, present and future, in hopes that past knowledge will lead to successive strategies that bring us closer to tackling global issues.

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BSC ARCHITECTURE | YE AR 4

ART IS A UNIVERSAL L ANGUAGE H A P P O L D FO U N DAT I O N P RO J EC T

Group 03 Charlotte Room, Edwyn Oliver-Evans, Ellie Thomas, Mia Gaines, Phoebe Charnley, Ross Clayton, Zali Kelly

LIVING ROOM FOR THE CITY

GROUP 03

The United Nation’s primary aim is to bring all nations together. They currently fail to represent all countries equally. The choice of archiving art derives from the quote “art is a universal language”, by Dwight D. Eisenhower. The accessible display of art will encourage all of New York’s population to come together, no matter their background.

Light has driven the scheme: each internal space is designed for the art type’s requirements. This has in turn informed our collaged elevations, creating a playful beacon on the New York skyline.

The ground floor has been designed to encourage the flow of pedestrians through the building. It is treated as a winter garden, with external the landscape seeping into the building.

The steel diagrid removes the requirement for structural cores in the building, allowing the plans to flow freely. This allows the manipulation of the floor plates, forming a variety of voids to let light deeper into the spaces.

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BSC ARCHITECTURE | YE AR 4

WORLD LIBR ARY Group 04 H A P P O L D FO U N DAT I O N P RO J EC T

Azri Azmi, Celine Cheung, Chew Shan Wei, Jack Skinner, Jonel Li, Kevin Poon, Sophie Judson

G LOBAL G ATHERING SPACE Functioning as an archive which holds war-related artefacts, the architecture pinpoints the past as a bedrock for the future. Through this, we begin to see two characters taking ideological and physical form. One is heavy and opaque, and can be read as a time capsule to hold history. The other is light and translucent, alluding to the brightness of the future.

The four physically divided spaces are connected by a strong vertical journey.

The building is made monumental through this journey, as it reveals a series of atria, and a central vertical circulation linking the public spaces at the top and bottom. These large voids and vertical links are made possible by the external structural skeleton.

GROUP 04

From these divisions, four definable spaces emerge; the forum, the archive, the world offices, and the global living room.

The story-telling of the vertical journey is supported through the bespoke design of passenger lifts. The functional yet expressive design matches the aims of the architecture: to create a simultaneously somber and thrilling experience.

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BSC ARCHITECTURE | YE AR 4

THE LIBR ARY OF LIVES H A P P O L D FO U N DAT I O N P RO J EC T

Group 05 Amy Young, Ingrid Bjerkan, Kimberley Ertl, Lauren Dennis, Ryan Stranger, Teresa Franz

THE LIBRARY OF LIVES SHOWCASES THE UNTOLD STORIES OF INDIVIDUALS FROM ACROSS THE WORLD

GROUP 05

The Library of Lives collects and archives the world’s untold stories. It is a place to celebrate the unique experiences of individuals from across the globe, which can be researched by the UN to enrich the Sustainable Development Goals.

Archives naturally have a very specific function, due to controlled conditions and a lack of natural light within the space. In the Library of Lives, removable panels along the short edges of the archive give the possibility for daylighting in a future life.

The chamfer between the podium and tower highlights the location of the exhibition, where the archive is opened to give visitors the opportunity to interact with the stories inside. Structural granite is used for the podium and the tower above has a timber structure connected back to the concrete archive. The diagonal timber structure is visible within the lending library, allowing visitors to discover the structure at the point where they begin to discover the untold stories.

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LEBAB Group 06 H A P P O L D FO U N DAT I O N P RO J EC T

Aaron Joyce, Bonnie Ha, John Lee, Ollie Wickens, Thomas Mynett, Varvara Kot, William Allen

CELEBR ATE PEOPLE CELEBR ATE HIS TORY RE TRE AT FOR THE CIT Y

Regional libraries in the tower are supported by our exposed archive and grounded by a collection of human-scale buildings.

GROUP 06

The UN brings people together and promotes equality for all. As such, our building is a monument to humble learning about people, rather than a monument to us and our building ability, as this was the issue with the Tower of Babel.

Our atrium connects all of these key spaces together. Visitors feel instantly connected to a variety of zones and have plenty of space to discover new areas of learning.

We are not celebrating our ability to scrape the sky, rather we are simply providing a space for people to come together and learn about their differences.

We are flipping the idea of the Tower of Babel on its head...

Lebab!

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OASIS H A P P O L D FO U N DAT I O N P RO J EC T

Group 07 Aristides Mettas, Chrysostomos Neocleous, Constantinos Kalathas, Desmond Tang, Stathis Laouris

LOW IMPACT ON THE E N V I R O N M E N T, HIGH IMPACT ON PEOPLE

G RO U P 07

A protest to the conventional glass towers of its surrounding context, this proposal utilizes a high performance building envelope to minimize its carbon footprint and brings greenery into Manhattan to reconnect people with nature.

The building features a series of setbacks in order to minimize vertical loading above the Queens-Midtown tunnel, which runs below the south-eastern section of the site.

Developing upon this, cuts were made between the cascading volumes. This allowed for the creation of ‘sky gardens’ and for diffused light to enter each volume through skylights.

The three volumes were strategically zoned into the public ‘living room’ for the city, semi-private reading room and private offices.

As libraries struggle to remain relevant in the modern world, we reimagined the library as a ‘third place’ for the population of New York, where people of all ages and backgrounds come together to share ideas, network, co-create and learn.

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THE COANDA Group 08 H A P P O L D FO U N DAT I O N P RO J EC T

Alisa Dozorceva, Ben Chapman, Giles Davis, Hasibullah Samsor, Leon Behling, Piers Riordan, Rory Kilcoyne

SURFACE - OB JEC T Although the building’s global implications are significant, it must firstly engage with the cultural context of New York.

Our scheme consists of 1 object and 2 surfaces:

A Coanda-breaking, curved ETFE facade that channels the polluted air rising from the QMT Vent away from the building. Its form is derived from the retrices of the red kite, which also performs the function of directing and channelling air.

GROUP 08

A cylindrical central Archive, that is fully mechanised to reduce direct interaction: placing the knowledge contained within over the user’s experience with the material. The archive acts as the ‘Axis Mundi’ of the building, and is a constant presence on every floor.

A stimulating, ETFE wrapped Biome forms a year-round vertical ‘Garden of Eden’, creating green intermediary spaces to improve the quality of the inhabitants’ wellbeing, and act as a buffer to the hectic city environment.

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RECESS H A P P O L D FO U N DAT I O N P RO J EC T

Group 09 Amy Hickery, Guy-Louis Rongier, Jon Barnes, Megan Holden, Oliver PorteousWilliams, Thibault Seiji Quinn, Will Howitt

GROUP 09

A BREAK FROM THE CIT Y The design seeks to give back to the community the recreational space taken from the site by providing a varied collection of terraces connected to the libraries. The terraces fulfil the different needs of the public, researchers, and UN staff who use the libraries, providing relaxation, play and connection to nature. The terraces provide the accessible space for recess that is desired by New Yorkers in this busy and hectic city.

An external frame structure creates flexible and open spaces, connected to the outside through the terraces. The structure is expressed internally and externally, enhancing the user’s connection to the tactile spaces.

In its Manhattan context, the building’s expressive, uninstitutional appearance makes it stand as a landmark that is active and engaging with the skyline. The language of the external frame is altered at lower levels to invite users through the entrance and also addresses the challenge of avoiding loading over the Queens-Midtown Tunnel on the South corner of the site.

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S U S TA I N Group 10 H A P P O L D FO U N DAT I O N P RO J EC T

Alexander Ryan Wu, Charlie Durrant, Chris Nightingale, Gabriel Fox, Hannah Brookes, Pontus Lee

CELEBR ATE. EDUCATE. PRESERVE.

GROUP 10

In this digital age of accessibility where information is predominantly found online and everything is ‘Googled’, the role of the library needs to evolve from the traditional interpretation as a place of research. Our design is twofold; focusing on creating a ‘Living Room for the City’ and a ‘Library of the World’. Our library aims to celebrate and educate about the cultures of the world, as well as preserve the act of reading a physical book.

We believe that like vinyl and film photography, even when everything is available in a digital form, people will always appreciate reading books. We imagine a park as the ideal reading location, and a place where everyone feels comfortable and welcome.

So we decided to redefine the typical idea of a library into a bustling environment of activity, meeting and celebration in the form of a vertical park.

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AGORA H A P P O L D FO U N DAT I O N P RO J EC T

Group 11 Apolline de Meeus d’Argenteuil, Arthur Masure, Chinenye Emodi, Pierre Jerdak, Rachel Hayden, Violante Piccolomini

A HIVE OF INTERACTION

GROUP 11

With the advent of digitalisation, our project seeks to counter the idea of ‘the death of the library’. In a polarised society where debates are stifled and ideas are left to float around in echo-chambers, our library generates encounters between people from all walks of life.

The library grounds itself to the floor like a fortress through its concrete base. On the north-western front, the massive concrete solid that encloses the deep archive – the foundation of knowledge on which the building rests – is pierced. A dramatic passage leads to the escalators, which transport passers-by to our ‘ground floor’.

This sheltered extension of the street, our stoa, frames the agora: a centre of artistic, intellectual and political life in the city.

Adapting to the density of the Modern City, our agora takes on a new dimension, extending vertically to occupy the central void: a space of interaction and debate between users, a Babel of languages and ideas that rises organically as stairs and inhabitable bridges connect the floors. The structure becomes a point of convergence, where users from different realities meet in a single, continued space.

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VOICE Group 12 H A P P O L D FO U N DAT I O N P RO J EC T

George Malone, Gonzalo Garcia Villalba, Maria De La Joya, Muskan Kheria, Sarthak Saarthi Bansal, Shreya Sarin, Shreyaa Dada

STORY TELLING The design of our library attempts to embody the idea of social equity. It is designed as a social infrastructure that equalises opportunities for its visitors and empowers the voiceless. Our means of achieving this is through the curation of bespoke reading rooms that cater to varying forms of storytelling and narration.

In essence, our library houses stories of different formats that do not generally make it to a published platform.

GROUP 12

This three storey public realm forms a threshold between the streetscape of New York and the reading rooms placed above. The public realm is divided into the exhibition rooms and the forum by a street that cuts diagonally through the site. The forum challenges the traditional notion of an auditorium by being highly accessible to all.

The archive runs along the eastern edge of the site and blocks the ventilation building.

The plans of the archive floors consists of the academic library, the DAG and buffer spaces that link these to the archive.

The six floors above the archive contain the community library linked with the storytelling nooks.

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RE AD N ’ PL AY H A P P O L D FO U N DAT I O N P RO J EC T

Group 13 Chin Leong Tan, Ezinne Osueke, Hans Ye, Hao Khai Tang, Kathy Yan, Vincent Tam, Xinyi Liu

GROUP 13

VERTICAL PL AYGROUND The brief we have been given is a midrise archive library building to replace the original Dag Hammarskjöld UN Library located on the North of the project site.

In this project, we chose to focus on “Play” as part of our bigger idea of “Growth”. For the key aspects of our design, as a group, we aim to break down stereotypes and create a non-discriminating building where everyone finds a place of comfort and belonging. Within that we feel that play is a significant part of one’s growth that does not discriminate against age, sex, culture, and background, which is the ethos behind the UN Foundation.

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RE S O LV I N G C O N F L I C T Group 14 H A P P O L D FO U N DAT I O N P RO J EC T

Ben Chater, Chi Nguyen, Jasmine Turner, Louise Pannell, Phoebe Claxton, Tsian Lee

BEING C ONFRONTATION A L With New York, an eclectic city with people from all walks of life, and the United Nations as our backdrop, our interpretation of “Library of the World” is a living one that focuses on promoting equality and resolving conflicts.

Unlike traditional libraries, conversation is key to our design, as it is integral to confronting the root of all conflict. As people enter the building, they will face the front of the auditorium. Communication is encouraged all up the building. The archive is placed at the heart and is supported by the arch structure of the auditorium.

The line between storage and exhibition is blurred where models recreating cities destroyed by conflicts are available to be seen. In short, the library emphasises multifaceted knowledge accumulation in working towards resolving conflicts.

GROUP 14

The first aim is addressed through a free flowing dynamic and openness of the floor plans. The top floors, which are usually very exclusive, are completely accessible to the public. As income inequality in New York grows, we hope to support people who are struggling by providing facilities such as a food bank, post boxes and more.

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FORUM H A P P O L D FO U N DAT I O N P RO J EC T

Group 15 Declan Wain, James Lifely, Lesley Cheung, Molly Mcmaster, Octavia Lewis , Ryan Hillier

IN THE CITY OF VERTICAL D E V E L O P M E N T, T H E ANTI - SKYSCRAPER PRESENTS ITSELF

GROUP 15

Until the mid-1900s, waste in NYC was primarily disposed of into the ocean to be developed on. The Forum looks to reflect on local history by using waste as building material, using recycled PET plastic in the primary concrete structure and cladding to fiercely reduce embodied carbon.

Made from the people’s waste, The Forum tells a story of culture and exchange, focused on celebrating New York’s diverse demographic and the abundance of ethnographic history that the world has to offer.

The submerged archive sets a podium of information for The Forum to operate upon, promoting education and the dissemination of knowledge: a library’s primary function.

A strategic re-definition requirements manifests building form, further environmental impact of operations.

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of the brief’s in a reduced minimising the construction +

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DEFINING SPACES

JOURNEY

LINGUA Group 16

Han Kong, Ian Williams, Jared Lloyd, Karlo Miracle BOOK LIBRARY

AUDIO LIBRARY

OFFICE & LIBRARY INTEGRATION

HIERACHY

H A P P O L D FO U N DAT I O N P RO J EC T

UNCaleb LIBRARY Lee, Crystal Cheung, Fatin Alsagoff,

CIRCULATIO

PRESERVING LANGUAGE The over-arching idea behind our scheme is the preservation through recording suppressed, marginalised and forgotten languages. Our research shows that 43% of the world’s 7000 spoken languages are endangered.

GROUP 16

The essence of our building is to provide a space for conversations and learning to take place in. The ‘human library’ concept is a key part of our scheme where the UN Librarians act as ambassadors for their respective countries that can be booked for conversations to teach anyone about their language and culture. The integration of the UN offices within the public library floors encourages these interactions between the UN and the public. We use archived recordings of stories, conversations, music, poetry and films to showcase the history of all languages in the exhibition, education spaces and audio library.

The archive at the base is clad in bluestone with no glazing, contrasting with the upper facade details which are textured with vertical fins, PV louvres and glazed panels.

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THRIVE H A P P O L D FO U N DAT I O N P RO J EC T

Group 17 Abbey O’Rawe, Alicia Luddy, Bryony Johnson, Hope Francis, Lily O’Brien, Sophie Vaughan

A LIBRARY OF FOOD AND GROWING

GROUP 17

Our library’s values celebrate every individual. It is a place where people of all classes and race are encouraged to inhabit and co-exist.

In all cultures and communities across the world people gather to eat. Food is vital for our survival and part of our everyday routine. The coming together to enjoy food is the backbone of so many celebrations and traditions.

Food acts as a great means to bring everyone together. It can be symbolic, fun or personal. It tells stories of ancient traditions and family histories.

Our library allows people to share the cultures and traditions of food, through reading, sharing, viewing, making and celebrating. Honouring people all across the world, the building is a humble expression of the UN values.

Our library is a landmark because of its unique offering to New York and its environmental and holistic sustainable strategy.

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HARMONY Group 18 H A P P O L D FO U N DAT I O N P RO J EC T

Alice Lindquist, Cassandra Lee, Isobel Ives, Jake Taylor, Millie Thompson, Sophie Skelton

MUSIC IS A UNIVERSAL LANGUAGE Our proposal adopts the medium of music, operating as a listening library rather than a traditional reading library. We aim to use music to bring people together, embodying the United Nations’ core values of peace, dignity and equality.

Archival spaces will preserve a physical collection of CDs, tapes, records and sheet music from around the world, while the building’s public facilities will allow anyone to experience and create music.

GROUP 18

Conceptually, ‘chaotic’ street noise enters the building at ground level. This sound is refined as it ascends, passing a research library, practice rooms, recording studios and an acoustically isolated auditorium. At the rooftop, ‘curated’ sound is projected back into the city via an open-roof performance space.

This theme is displayed in a variety of ways; at lower levels the services are exposed, internal walls fluid and curved, and spaces are generally more open plan. As you travel up the building, the plan becomes more ordered, rectilinear and services are concealed.

The west facade is a kinetic facade inspired

by Ned Kahn. The ripple effect reflects the creative activity inside the building, whilst visually representing nature as an instrument.

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INDIGENOUS H A P P O L D FO U N DAT I O N P RO J EC T

Group 19 Angel Li, Freya Morris, Lydia Edwards, Matthew Au Yeung, Nina Tamarra, Jason Tang

C U LT U R A L PRE SERVAT IO N & LINGUISTICS Language captures the rich history and culture of humanity. Our scheme for the ‘Library of the World’ strives to protect indigenous culture through linguistic archive and research. These two activities are expressed architecturally as a contrast between the ideas of ‘heavy’ and ‘light’, which informs the materiality of our building.

Central to the heavy section is the archive. It is wrapped around by the communal library and exhibition area. An interactive feature wall engages the public with the archive and its content, promoting the learning of indigenous language and culture. All public spaces share this vision and are interconnected via a spiral stair, which extends to the storytelling auditorium at basement level.

The contrasting light section mainly consists of offices and research libraries dedicated to staff and scholars. Two distinct user groups served by the heavy and light sections converge at the mid garden level to meet and exchange ideas.

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Light Tube

Steel Diagrid Column

Ultralight Concrete Panel

Timber Steps

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TOPOGRAPHIA Group 20 H A P P O L D FO U N DAT I O N P RO J EC T

Dina Abu Shamat, Henry Amos, Adam Broadbent, Samuel Chua, Santos Geldenhuys, Joshua Yeung

A CENTRE FOR MAPPING THE WORLD

Our building is a centre for maps, planning and topographical models, which will facilitate activities such as maprestoration, model-making and geography based education by giving guided public tours.

G ROUP 20

Given the inherent difficulty of taking a fresh political stance on the reform of the UN, we have decided to focus on a nonpartisan ideology to push in the generation of our building. By inviting people to explore the geography of their home-world we hope to show that what unifies us all, regardless of sex, skin colour or beliefs, is our physical environment and the nature of the world around us.

Our archive is designed to hold maps and models of the built and natural environment in order to show how our perception of the world has changed over time. In tandem with storing these maps in controlled archive conditions, we aim to scan and make public the maps of the past in order to ensure their indefinite preservation.

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REFUGE H A P P O L D FO U N DAT I O N P RO J EC T

Group 21 Alex Wells, Bilal Omer, Rory Doolan, Ryan Doolan, Tom Ellis, Yoya Muraki, Warren D’Souza

CELEBR ATE, EDUCATE & SUPPORT

GROUP 21

In accordance with the UN’s commitment to multilateralism, our building is a place of refuge; refuge for both people and artefacts. The archive is a Refuge for Culture, protecting culturally significant literature and artefacts from countries currently experiencing conflict and unrest.

While the surrounding libraries create spaces for demographics most in need of a place of refuge.

At ground level, the Robert Moses Park aims to ‘slice the podium’ to the library, acting as an extension of the street. Growing more private as it rises, the building is split into four independent tiers that are connected through garden terraces and staggered atria that continue to build relationships up the building.

The thick concrete walls of the archive are exposed on every floor to emphasise the sense of security and protection.

The contrasting lightweight surrounding structure creates open and welcoming spaces for interaction and education. The building is wrapped in a timber skin that gives it an approachable and tactile quality, separating it from the urban grain of the city and giving the community its own identity.

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FUSION Group 22 H A P P O L D FO U N DAT I O N P RO J EC T

Aisha Al-Obadi, Sam Bartley, Sue Vern Lai, Caroline Nicholls, Hania Salem and Jing Hui Tay

A BALANCING ACT

GROUP 22

From a distance, a visitor will first wonder how this building defies gravity and appears to be resting on a small footprint while projecting out into its surroundings.

However, upon entry, they get their first glimpse of the structure: the hexagrid. The columns are slanted, the steel is painted red, and the ground is an undulating rubber tarmac playground. The space feels playful with the ‘wonky’ hexagrid columns which emphasise this escape from the uniformity of New York architecture.

We aimed to unify the diverse community, through the global significance of food, by creating a space that encourages communication on this common interest.

Our library embraces this theme vibrantly and uniquely.

Our solution to having the Queens Midtown Tunnel running under our site was to cantilever the community blocks from the archive core. Thereby creating a dynamic form befitting what should be an iconic landmark in New York.

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PRODUCED BY AN AUTODESK STUDENT VERSION

REC O N C I L I AT I O N

Harriet Dyke, Gwen Feng, Stephen McDougall, Rachel Moberly, Raiesha Sardar, Eve Wheller

PRODUCED BY AN AUTODESK STUDENT VERSION

H A P P O L D FO U N DAT I O N P RO J EC T

Group 23

A STUDY OF THE MUTUAL REL ATIONSHIP BE T WEEN MANKIND AND NAT URE Mankind’s selfishness has had catastrophic effects on the climate and biodiversity of our world. What if we considered our world not just as a tool at mankind’s disposal, but as a home for mankind and nature to help and preserve one another in an endless cycle of mutual compatibility?

G RO U P 23

Reconciliation is an utterly unique response to the ‘Library for the World’ brief, where we have created a seed library to help nations share and distribute seeds and botanical knowledge to help combat and cope with climate change.

We wanted to challenge every part of American culture, and question what it should look like in the future. Our innovative form which blends the radial and orthogonal physically breaks the grid of New York.

Mankind’s relationship with nature is explored at every level, for example the structural strategy is inspired by a plant stem, where our central core houses the archive. Inspired by photosynthesis, our environmental system uses sunlight, water and carbon dioxide. By blending the man-made and the organic at every stage, our project is the perfect symbol of reconciliation.

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South

North

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TREE OF

KNOWLEDGE

Group 24

OFFERING A NEW OPPORTUNITY FOR HIGH-RISE T YPOLOGY

H A P P O L D FO U N DAT I O N P RO J EC T

Haoxuan Tan, Jason Chan, Shutong Fan, Kitiya Chiempitayanuvat, Gwylim Greenway, Josh Murray , Oliver Watson

Our aim was to create a library with a warm and humane environment, integrating nature with the city, whilst also designing flexible spaces to adapt to different functions and for the evolving use of the library in the future.

G R O U P 24

Two central concrete cores, support a lightweight timber frame wrapping around its perimeter. With the archive between the two cores, it is enveloped by the flexible primary spaces which expose the timber frame internally, whilst enjoying the connection to the city. Multiple gardens of different uses are incorporated, breaking up the massing and providing special moments within the library. Various spaces have the ability to open and close the facade with the changing seasons, controlling the relationship between interior and exterior.

The spiralling reading room platforms generate a circulation of people around the core, with moments to enter and interact with the archive, enhancing the relationship between core and perimeter.

Not only do the ascending platforms help to create zones with suggested boundaries, open for adaptability, but they also provide a changing rotational view of the city as one ascends up the tower.

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LIBER H A P P O L D FO U N DAT I O N P RO J EC T

Group 25 Fannia Chung, Dan O’Flaherty, Lok Lam Ma, Jessica Sin, Anatoliy Stoimenov, Jessica Sung, Gavin Woods

UNITY

G RO U P 25

As response to previous criticism of the lack of United Nations’ transparency and representation, we aim to UNIFY the public (library) and private (archives) through our building form by merging contrasting material languages. The main “seperation and merge” design is indicative and honest to the programmes within the tower.

Other critical drivers in the design approach were the expected longevity of the building, ensuring to design the systems in the building to be robust, durable, with good thought of the end of lifecycle for the structure and its component parts. The building structure is supported by a central core. Lateral loads are passed to this core via a diaphragm flooring, where the decking, which is compositely connected to the beams then bears back onto the core via a moment connection in the beam to the core.

Providing optimal environmental conditions for both the occupants and the stored items, whilst keeping the operational impact of the building to a minimum has been at the forefront of our consideration throughout each step of the design process.

The ambitious goal of meeting Passivhaus standards were set early in the project. The results are encouraging.

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U N D ERS TA N D I N G Group 26

CENTRE FOR M U LT IL IN G UA L STORY TELLING

The proposal is split into three forms, the archive, the reading tower and the auditorium, depending on the structural loading and environmental conditions. The public reading room houses a language school which offers an opportunity to learn English and the UN’s other official languages.

The spiralling reading room is split into bays on different levels – creating private reading and study spaces whilst maintaining a visual connection. The building allows people to explore different cultures through the medium of storytelling. By enabling a deeper understanding between communities, society can build a future on common ground.

G RO U P 26

In the biblical story of Babel, language created division between communities which prevented them from working together. Today, humanity is deeply divided, physically manifesting into wars and conflicts. The word ‘understanding’ is defined as ‘knowledge of a subject’ or being able to comprehend “how things work”.

However, the etymological origins suggest that in order to ‘understand’, one must ‘stand between’ and observe, and this is central to the role of the UN as a mediator in the resolution of conflicts.

H A P P O L D FO U N DAT I O N P RO J EC T

Rebekah Ball, Flik Cooper, Vicky Hui, Alvin Kan, Galina Lyubimova, Meg Marumoto, Charlotte Man.

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T R A N S L AT E H A P P O L D FO U N DAT I O N P RO J EC T

Group 27 Carol Al Mokatash, Kate Brydon, Jack Collins, Pete Holmes, Olly Jones, Will Samuels

A STUDY IN DUALITIES

G ROUP 27

The act of translation allows cross cultural connections to be formed without the risk of creating a homogenised whole. In this spirit, our library functions as a facility for translation. Through the interpretation of archival objects into multiple languages, knowledge from across the world can be placed into public circulation within the library and beyond.

Just as translation reveals what is hidden by linguistic barriers, the building reveals its functions to the user. A voided spine forms the centre of the structure in which the bones (columns and beams), arteries (risers and ducting) and prefabricated translation boxes (plugged into the services and archive) are expressed. To create an efficient building which embodies the translational concept, functional connections are made through dualities of purpose; A structural core, acting as the thermal envelope of the archive.

An exposure of MEP, generating exploratory routes throughout the building .

Facade tiling, acting as a tunable shading devices over the glazing.

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CONCORDIA Group 28

A MUSICAL JOURNEY

H A P P O L D FO U N DAT I O N P RO J EC T

Amy Thompson, Charlotte Ward, Emily Walker, Martha Eustace, Harrison King, Niall Conyers

Concordia intertwines music and architecture, creating a shared experience for all users, as a positive counteraction to the disparity evident in the United Nations. Music has complex structure and harmonies, which is reflected in the transition between spaces of varying atmospheres and scales throughout the building. A timber diagrid gives freedom to the floor plan, enabling a playful scheme with low embodied carbon and flexibility for future use.

G RO U P 28

A historical journey, from the origins of music to present day, flows through and around the archive, linking public and private realms. Visitors are invited to learn, both about the historic artefacts and the work of librarians and archivists who inhabit the building. Encased in brass, the archive is present throughout the visitor’s journey. This core of knowledge carries the public libraries and is central to the librarians’ offices. A lightweight veil wraps the building creating intrigue from the street. Perforated brass panels, with patterns abstracted from musical notation, allow daylight and shading control to be tailored to individual volumes.

Concordia acts as a shining beacon of joy for the local community.

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BSC ARCHITECTURE | YE AR 4 S T U D I O C O O RD I N ATO R: M AT T H E W W I C K EN S 37

Group 15 | p. 23

Group 18 | p. 26

Group 3 | p. 11

Group 4 | p. 12

Group 16 | p. 24

Group 22 | p. 30

Group 1 | p. 9

Group 13 | p. 21

Group 6 | p. 14

Group 19 | p. 27

Group 27 | p. 35

Group 20 | p. 28

Group 12 | p. 20

Group 7 | p. 15

Group 14 | p. 22

Group 5 | p. 13

Group 17 | p. 25

Group 26 | p. 34

Group 28 | p. 36

Group 11 | p. 19

Group 10 | p. 18

Group 2 | p. 10

Group 9 | p. 17

Group 8 | p. 16

Group 21 | p. 29

PRIZE WINNERS 1st Prize: Group 22 2nd Prize: Group 2 3rd Prize: Group 28 Shortlisted: Group 7, Group 9, Group 24

Group 25 | p. 33

Group 24 | p. 32

Group 23 | p. 31

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YEAR 4 INDIVIDUAL PROJECT

S T U D I O C O O RD I N ATO R: M AT T H E W W I C K EN S

INDIVIDUAL PROJECT

LOCATION: NE W YORK CIT Y

New York is a pretty big place. The five boroughs accommodate vast assortment of cultures, communities and contrasts; a small portion of which we have had the privilege of exploring from the confines of our homes. Working with a site we have never seen, in a country many of us have never visited, has been a challenge. Yet the vibrancy of New York has more than made up for these difficulties.

Within this multitudinous city, we have had the chance, at last, to design a building according to our own agenda. Across the year, the diversity of these agendas is huge: some confront the troubles of our time such as the climate emergency, biodiversity crisis, intolerance and prejudice; some push for community, striving for human connection in an isolated world; and some celebrate, nurture and make space for those in our society who are too often overlooked. Despite their differences, every one of these projects has been created with passion and a lot of hard work.

We would like to take this opportunity to thank all directing staff, tutors, external consultants, workshop staff and guest critics for their wonderful guidance towards the realization of our projects this year. While the tutorials were virtual, the support was real, and we could not have done it without you.

YEARBOOK TEAM Graduating 4th Year Students

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Project Location

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TUTOR:

ANNE CL A XTON

INDIVIDUAL PROJECT

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TUTOR:

ANNE CL A XTON

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THE ESTUARIUM Matthew Au Yeung

INDIVIDUAL PROJECT

mattheway98@gmail.com

TUTOR:

ANNE CL A XTON

RIVER RESEARCH & EDUCATION CENTRE Located on the waterfront at Hudson Yards and along the promenade of Hudson River Park, the Estuarium is dedicated to research, restoration and education regarding the ecosystem of the Hudson River Estuary.

The building is arranged into three distinct but connected zones: a laboratory area for research and restoration programmes; an aquarium space for the exhibition of the Hudson’s habitats; and a communal area with a cafe, ferry landing and waiting hall for the public. The scheme aims to draw people to the waterfront, hence a bridge has been introduced to provide direct and efficient circulation between Hudson Yards and the riverside.

The river’s force and its ability to sculpt its surroundings inspired the form and materiality of the Estuarium. Stabilised earth walls using nearby soil bring the colours of Hudson into the building, aesthetically recreating the layers of sediment of the riverbed. The monolithic limestone cladding resembles a stone block sculpted by water. Composed of various heights, depths and finishes, the layers of limestone wrap around the building, emphasising the scheme’s horizontality.

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GOWANUS TEX TILE ART CENTRE Lauren Dennis laurendennis08@gmail.com INDIVIDUAL PROJECT

PROMOTING THE CRE ATIV E RE-USE OF TE X TILES

ANNE CL A XTON

The scheme features formal and informal exhibiting spaces, blurring the line between what is considered craft or art. A large main hall and studios foster collaboration, welcoming artists of all abilities.

TUTOR:

A textile art centre proposed in Gowanus, Brooklyn, for the textile recycling nonprofit Fabscrap. The space is open to artists, enthusiasts and the general public, preserving American textile traditions with an ethos of regeneration.

Three corrugated brass-clad volumes are wrapped by a reclaimed brick wall, with different uses along its length. An internal walkway weaving between the spaces meets the brick wall to accommodate fabric roll storage. A patchwork of courtyards is used for public functions and to grow plants for natural dyeing, becoming a destination sheltered from the site’s industrial surroundings.

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THE GARMENT HUB Angel Li

INDIVIDUAL PROJECT

li.angel9810@gmail.com

TUTOR:

ANNE CL A XTON

SUS TA IN A BLE G A RMENT PRODUCTION & LEARNING CENTRE Located within the Garment District of Manhattan, the project seeks to preserve garment manufacturing skills and promote sustainable garment production in response to the phenomenon of fast fashion.

The building is separated into spaces for manufacture and community use. The manufacturing facility focuses on garment recycling and the production of sustainable clothing. The community facilities include retail spaces and workshops where people can learn about and buy sustainable clothes and textiles produced in the manufacturing facility.

The central hall acts as a gateway between the community and manufacturing areas.

The hall is a flexible space that can be used for hosting fashion shows, textile forums and exhibitions. The freestanding timber structure contrasts with the two existing steel structures on the site, the interconnection of the buildings mirroring the weaving of textiles. This is emphasized by the lamella roof, which also incorporates a weaving pattern.

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CYCLE Yoya Muraki yoyamrk@gmail.com INDIVIDUAL PROJECT

S TA PLE TON WATERFRONT PA RK A ND EN V IRONMENTA L LEARNING CENTRE

TUTOR: ANNE CL A XTON

Located on the eastern shore of Staten Island, Stapleton Waterfront Park and Environmental Learning Centre seeks to create a harmonious relationship between water, city and human within the urban fabric of New York. It weaves the function of educating and engaging the public in with saving the environment. The project aims to enrich the quality of life of the community surrounding the underused waterfront site and responsibly manage resources utilising a compact tidal power generator. With a robust flood-proof design, the scheme will consolidate both social and environmental infrastructure that celebrates the new identity of the coastal community.

The theme is embodied in the building fabric through the sustainable use of timber and gabions whereby they visually link with the original landscape of the coastline. Despite the building structure being elevated on stilts to combat flooding, the holistic planning of landscape and building masses maintains the relationship between the built structures and the water.

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1 3 5 TH M T S

INDIVIDUAL PROJECT

Ryan Stranger

TUTOR:

ANNE CL A XTON

WATER Q UALIT Y FIELD S TATION & P UBLIC P O OL The existing 135th Marine Transfer Station used to act as a collection point for the waste of New York City before it was barged along the Hudson River to the Fresh Kills landfill. The old building was symbolic of New York’s polluting relationship with both Harlem and the Hudson River.

Inspired by Arne Næss’s ecological report ‘The Shallow and the Deep’, a new water quality field station for Columbia University aims to reconnect climate and culture, providing space for both work and play within the existing structure.

The two existing water inlets of the offshore Marine Transfer Station are repurposed. A wet dock for the Hudson River Field Station brings in water quality measurements from the river and a public pool allows for recreational swimming - inspired

by Harlem’s old floating theatres. The architecture is then designed to create a communicative movement between the ‘real’ and ‘imagined’ quality of the river using analogy, metaphor and rhythm.

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G O I N G P O S TA L Amy Young amynayoung@gmail.com INDIVIDUAL PROJECT

A POST OFFICE, POLLING S TATION & M A RKE TPL ACE

ANNE CL A XTON

The project sits along the Albany Postal Route in Manhattanville, at a point of democratic tension between the West Harlem Community and Columbia University. It acts as a monument to the postal service, participating in the rhythm of the city and providing a backdrop to civic life.

TUTOR:

Going Postal seeks to revive the democratic foundations Benjamin Franklin built the United States Postal Service upon in 1775.

Alongside the existing functions of the post office, there are two new functions in ‘Going Postal’, a polling station and marketplace.

The post office will be transformed into a site of democracy, in protest of the fascism, corruption and lies that the Trump administration fostered during its time in office.

Through the use of an arched concrete structure and a Bucks Brownstone facade, ‘Going Postal’ aims to reinterpret the Neoclassical post offices found in New York, challenging the complex history of colonialism and systemic racism in neoclassicism.

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TUTOR:

C AT M A RT I N

INDIVIDUAL PROJECT

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TUTOR:

C AT M A RT I N

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COSMOTORIUM Sarthak Saarthi Bansal

INDIVIDUAL PROJECT

sarthaksbansal@gmail.com

TUTOR:

C AT M A RT I N

PL A NE TA RIUM A ND CENTRE FOR SPACE STUDIES The project aims to reinvigorate the relationship between mankind and the cosmos. The Universe has, throughout history played a significant role in our beliefs, cultures and traditions, around the world.

Over time, this relation has gone unnoticed and unappreciated with the advent of a global, fast moving world revolving around technology.

The building thus, aims to educate the locals of Bronx in the study of the Universe, and the mysterious, infinite cosmos that surrounds us.

The building is personified in the form of our Solar System, with the planetarium acting as the heart of the system. Education and recreational facilities such as the observatory, library, cafe and exhibition space, all branch off the central planetarium in the form of tiny meteoroids and planets floating in space.

The project is an amalgamation of our past and future together, and aims to act as a precedent for more unique and liberating projects in the Bronx.

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1

Exploded Structure Owner

Unnamed Project Number Project number

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RE

.

PRINT

Lesley Cheung lesley.qyc@gmail.com INDIVIDUAL PROJECT

BRO OK LY N’S PRIN TM A K ERS & RECYCLED PAPER MILL In an effort to address the World’s current state of a climate emergency, the project aims to lessen the load of New York’s waste by creating a sustainable cycle of production.

TUTOR: C AT M A RT I N

The Recycled Paper Mill & Printing Company will produce recycled paper at a small scale to supplement printing services which will preserve the historical craft of paper making and printing in New York. Located adjacent to Brooklyn Navy Yard, a historically industrial area, the project will help provide accessible and high-quality printing services to the local community whilst celebrating the art of traditional print.

The combination of the industrial programme of paper production with the more approachable printmaking studios and public spaces (ie print gallery and shop), although unconventional, is completely rational - allowing the material of the buildings to feed into one another.

The dying industry of printmaking aims to be revived in a guilt-free way in a social climate where environmental concerns take the forefront.

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THE HERBARIUM Amy Hickery

INDIVIDUAL PROJECT

amybhickery@gmail.com

TUTOR:

C AT M A RT I N

A GARDEN FOR THE CITY Much of the Earth’s biodiversity is in jeopardy due to human consumption and activities destroying ecosystems. There is huge potential in the scientific, economic, social and environmental benefits of the Earth’s biodiversity if better researched.

As part of the Millennium Seed Bank Partnership, the proposal intends to create a research, education, and visitor centre, aiming to highlight threats to biodiversity and how we can conserve it. The Herbarium preserves plant specimens and provides materials for research and education.

The key design concept for the building is the idea of creating a ‘garden’ in the city.

Three garden spaces create a route through the site; the building defining and encasing it. Building and nature sit in balance on the site, with planting at ground level and taken up the walls and onto the green roof to maximise landscaping and integrate building and garden.

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EMMI Alice Lindquist lindquist.alice@icloud.com INDIVIDUAL PROJECT

A NTITHESIS OF A HOSPITA L

C AT M A RT I N

Located on a flood plain in Staten Island, the building is elevated above the ground to ‘lift the patients to safety’ whilst enjoying the views of Lemon Creek Park. The nearby landscape is incorporated in the design by an entrance ramp over a attenuation pond that allows patients to interact with the biodiversity in the contextual landscape.

TUTOR:

This project is dedicated to my sister Emilia Lindquist who is fighting her battle against Lyme Disease, a chronic illness caused by the bite of an infected tick. The clinic aims to rehabilitate Lyme Disease patients physically and mentally; providing hyperthermia treatment, oxygen therapy and psychological support. It is split into two wings: the residential area and the treatment wing. A survey of Lyme Disease patients revealed that there must also be space for family to stay within the clinic.

The structure is CLT and timber, creating the antithesis of a hospital using warm, comforting materials. Glulam is exposed in living areas to create a homely environment.

The facade represents the unpredictability of Lyme Disease through the unexpected nature of weathering copper.

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[parti diagram in black]

語 Chi Nguyen

Chi Nguyen

INDIVIDUAL PROJECT

chi.k.nguyen99@outlook.com

chi.k.nguyen99@outlook.com

TUTOR:

C AT M A RT I N

COMMUNITY LANGUAGE LEARNING The mixed scheme is intended to celebrate the linguistic diversity of New York and support language learning activities.

Classes available provide a limited choice of foreign languages for different ages to attain, In addition, English classes will be provided to support ESL learners and address adult illiteracy.

COMMUNIT Y L ANGUAGE L EARNING

While recognising a need for language learning programs, it is also important to take into account the ongoing poverty and low educational attainment issues in the Bronx. Therefore, rather than designing with traditional class setting in mind, this project aims to encourage learning languages in informal settings.

The mixed scheme is intended to celebrate

A community centre has more flexibility, serves larger groups of people from different backgrounds and can meet the demands of the local community.

linguistic diversity in New York and support

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language learning activities. Classes available provide a limited choice of foreign languages

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THE HIVE Oliver Porteous-Williams oliver.p.w123@hotmail.co.uk INDIVIDUAL PROJECT

A PLACE FOR OUR FUTURE

C AT M A RT I N

The proposed youth centre aims to combat this by becoming the antithesis of it’s surroundings. It bursts from the rigid context by implementing change, and giving the user the chance to imprint themselves on the building. The elevation is active and changing, which brings life to the frontage through it’s moving components.

It is a connected patchwork of timber and perforated metal panels, bringing focus to the youth based areas, creating a lantern of life and activity. It promotes the centre and it’s events, becoming a living billboard.

TUTOR:

The social changes across the past few years have taught us that both community and support are more important than ever. With a rise in mental health troubles amongst young people, there is now an overbearing need to provide a ‘hive’ like youth centre for those who are suffering.

The Hive gives access to a variety of facilities, whilst giving young people the chance to speak their mind and find their voice. It acts as the needed escape from the mundane, as it grows and changes with it’s users. It truly is a place for our young peoples to re-define their future.

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LANTERNS Jessica Sung

INDIVIDUAL PROJECT

jscasung@gmail.com

TUTOR:

C AT M A RT I N

CHINATOWN COOKING SCHOOL AND FOOD HALL

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Food is certainly a catalyst for gathering.

The project highlights the unique and multifarious culinary scene of Manhattan’s Chinatown, a primary destination for new Chinese immigrants, tourist exploration, and hungry NYC locals. The area is comprised of long-term independent shop-owners, who face increasing strain to preserve the community’s authenticity amidst pressures of gentrification.

The design of both a public cooking school and food hall in a park aims to not only enhance a place of leisure for the aging population, but also to gather and educate tourists and New Yorkers alike in the traditional roots of Chinese food and culture. Rather than stacking multiple programs in one large building, the nature of the recreational location informs the principle of several small buildings that are scattered along the strip of Hester St. Playground and oriented to allow a gentle flow from the north ball courts to south running track. In the evenings, the pavilionlike structures glow using polycarbonate to enable the safe use of the park through the night.

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LIFE AFTER RELEASE Millie Thompson milliethompson@outlook.com INDIVIDUAL PROJECT

A CULINARY SCHOOL TO PREVENT THE CYCLE OF REOFFENDING

C AT M A RT I N

The building is split into three levels community, learning and support. This categorizes the building into public and private zones. The courtyard connects the spaces and promotes a feeling of safety, something the students will have been deprived of in prison. Integrating planting within the architecture softens the scheme and provides relief from the hubbub of New York. At ground floor, the restaurant and cafe open onto the courtyard, encouraging the community and students to mix. The learning library is located above. On the top floor, support spaces are provided with an allotment garden, allowing students to get the help they need to recover.

TUTOR:

The Life After Release Centre aims to prevent the cycle of re-offending by teaching students traditional French cookery in an intense six-month programme. Alongside this, students will get help in all aspects of their rehabilitation including counselling sessions, finance management and social skills. A variety of learning spaces have been provided throughout the building to support the needs of each student.

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TUTOR:

DANIEL WONG

INDIVIDUAL PROJECT

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INDIVIDUAL PROJECT

TUTOR:

DANIEL WONG

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EUDAIMONIA Samuel A. L. Chua

TUTOR:

DANIEL WONG

INDIVIDUAL PROJECT

samuelch3@gmail.com

A LIFESTYLE INTERVENTION CENTRE FOR THE TRE ATMENT OF CHRONIC DISEASE Individual human flourishing, or Eudaimonia, is a regenerative phenomenon, where multiple factors form positive feedback loops through which human beings can flourish. Undeniably, those in better health, both physical and mental, enjoy a better quality of life, leading to more positive feelings day-to-day.

Many of the mental and physical health ailments of modern times are the result of excessive and repetitive exposure to stress.

Chronic stress erodes the body and mind, and can take many forms (food, bills, lack of sleep etc.), but the ultimate cause of most chronic disease, as well as a significant proportion of mental health issues.

The U.S. healthcare system does not deal with chronic diseases at their roots, despite chronic diseases accounting for 7/10 deaths in the U.S. Why is this? Because the system only treats symptoms. I propose an alternative: A building that treats inpatients with chronic disease holistically, through lifestyle interventions. By teaching people how to eat healthier, exercise more effectively, and cope with stress, we can reduce the prevalence of chronic disease.

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PL AYSCAPE Shreyaa Dada shreyaadada@gmail.com INDIVIDUAL PROJECT

M U LT I- C U LT U R A L C EN T RE

DANIEL WONG

The former two are fun, and educative spaces that remind adults of their childhood, stirring a nostalgic journey to their younger, innocent selves. Whereas the Meditation Pavilion offers a juxtaposed experience, a journey towards their spiritual and mindful evolution, and a moment of respite in adulthood and old age.

TUTOR:

Set in an extremist neighbourhood in East Harlem, Manhattan, the project aims to improve relations between disparate local communities. Three distinct approaches for increasing social integration are implemented. The Creative Village consists of art workshops, allowing the community to grow together and develop bonds based on shared passions. The Community Hub is a community-run cafe complete with a rooftop herbal garden. Finally, the Meditation Pavilion is a secularly designed space for chanting, meditation and yoga. A beautifully landscaped playscape sits at the heart of the scheme, bringing it together.

The design derives great inspiration from a child’s innocence and aims to preserve their oblivion about hate, discrimination and segregation. No one is born with hate.

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PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PROSPECTS Harriet Dyke

INDIVIDUAL PROJECT

harrietdyke236@gmail.com

PRODUCED BY AN AUTODESK STUDENT VERSION

TUTOR:

DANIEL WONG

LEARNING THROUGH BUILDING Presently, over 50 million children in the US are enrolled in a state school. The education system was developed as a response to growing numbers of dependent poor during the rapid urbanisation and industrialisation of the 1800’s. While it has since undergone centuries of change, the school remains a symbol of social triumph and social tension.

This project, a high school in the Bronx, is a celebration of the concept of a school and all it has the potential to be.

It aims to: Integrate with the local community. Schools are more than a building; they are also an intricate network of local families.

Create a space of comfort and refuge so that students can inhabit the building and make the space their own.

Develop a fascinating environment.

Adolescence is a time of exploration and discovery; the architecture is designed to reflect this, layering meaning and function for its students to interpret.

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AT THE CORE Mia Gaines elizamiagaines@gmail.com INDIVIDUAL PROJECT

NOURISHING THE HEART + MIND THROUGH PL AY The scheme is a bouldering centre in the heart of the Bronx with yoga ‘at the core’. `

The plinth creates a heavy, defensive base from which the lightweight timber frame grows, creating the sensation of climbing from the darkness of a cave to the lightness of a tree canopy whilst moving through the building.

DANIEL WONG

The architecture strives to reflect this grounding and playfulness through its many interlinked components, encouraging moments of both chaos and reflection.

TUTOR:

The grounding calmness of yoga may seem opposite to the chaotic explosiveness of bouldering, yet they are inextricably linked in their movements. They both require core strength, playful motion and focused flow.

Participants are encouraged to climb up to the next floor rather than walk, be it through a rope net or top-out boulder. This connects the building from top to bottom.

The intention is for the centre to feel like a mindful retreat from daily life whilst being easily accessible from the wider Bronx and welcoming to all.

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T HE L AU NDROFA RM Sue Vern Lai

INDIVIDUAL PROJECT

laisuevern@gmail.com

DANIEL WONG

The Laundrofarm is a community wellbeing centre that explores how a laundromat and an urban farm can be brought together to become more than the sum of its parts.

TUTOR:

CELEBR ATING WATER

The ground plane is especially porous to enable the journey to, from and around the Laundrofarm, emulating the fluidity of water.

Various rhythms of movement are created throughout, transitioning vertically as well as horizontally, as though water were flowing around a bend or down a stream.

This variety adds to the play of rhythms found in the surrounding urban context.

Through bringing together different typologies, the Laundrofarm builds bridges between different communities and reconciles our relationship with water, earth and food.

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OPEN DOOR Thibault Quinn thibaultquinn@me.com INDIVIDUAL PROJECT

WORKSHOP & DAY CENTRE FOR THE HOMELESS

DANIEL WONG

The forum is the hub from which clients can access the Centre’s schedule of activities, which are split between three buildings. These are the workshop, for crafts and making, the admin building, for 1-1 counselling, and the skills building, for vocational, educational and wellbeing activities. The entrances to these buildings link directly to the forum, with external staircases and a raised bridge providing several elevated viewpoints over the social heart of the Centre.

TUTOR:

Open Door breaks down the social and built barriers that can discourage those with insecure housing conditions from accessing support services. The Brooklyn block is opened up to passers-by by the forum, a publicly-accessible, outdoor, safe space where clients, staff and the general public can interact.

Users are not pressured to pass through a restrictive front-door, instead the forum allows exploration and engagement with the Day Centre at their own pace.

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ANAGENNISI Desmond Tang

INDIVIDUAL PROJECT

desmondtang0329@gmail.com

RESTORING THE HEART OF CHINATOWN

TUTOR:

DANIEL WONG

This design works with the remnants of 70 Mulberry Street in Manhattan Chinatown, a historic, red-brick building, which was severely damaged by a fire in January 2020.

70 Mulberry was dubbed as the ‘Heart of Chinatown’ for its cultural significance within the Asian American community. Thus, the proposal chose to neither demolish nor to fully restore the extant building, but instead takes an adaptive reuse approach - retaining the surviving structure and building upon the existing envelope.

The building houses a Chinese-American cultural community centre, which aims to rehouse displaced NGO tenants from the pre-existing building and also to combat the increasing levels of hate crime against the Chinese-American population.

The form of the new volume is inspired

by Scholar’s Rocks, which were pieces of limestone that were appreciated for their aesthetics in East Asian cultures. These rocks were shaped over time through erosion from wind and water; similarly, the new mass is carved out for natural light and air.

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SALUS Ellie Thomas elliemthomas@outlook.com INDIVIDUAL PROJECT

A HOMELESS CENTRE FOR V ULNER ABLE FAMILIES

DANIEL WONG

Due to its location in the derelict area of St Mary’s park and the Haven’s desire to improve the green spaces of Mott Haven, integrating the building into its surrounding context was essential to its success.

Through landscape, visitors can explore the project whilst feeling a part of the park. A new pathway through the site meant that access to the park was improved.

TUTOR:

The aim of Salus is to integrate Mott Haven’s vulnerable and homeless population with the general public. The Haven’s ambition is to create a better connected city through the improvement of the area’s green spaces.

Salus presents the perfect combination of internal and external spaces, connecting the building to the surrounding parkland.

Two forms, one public and one residential, host four functions: nutrition, learning, therapy and temporary, sheltered accommodation. The public building houses nutrition. Everyone loves and needs food; it is a great way to bring people together.

Providing growing beds, a greenhouse, a market, a kitchen for learning and a large dining area creates a sustainable food cycle whilst enabling residents to work and learn.

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HALLETS COVE Eve Wheller

INDIVIDUAL PROJECT

evepinewheller@gmail.com

TUTOR:

DANIEL WONG

S .T. E . M E L E M E N TA RY AND MIDDLE SCHOOL IN ASTORIA Situated along the East River in Astoria, Queens, Hallets Cove is a project that increases biodiversity and mitigates flood damage by providing an excavated wetland to act as a storm-water attenuation pond. It includes a new school for children aged 5 to 14. The classroom arrangement is inspired by the domestic vernacular of Queens, allowing classrooms to become a ‘home away from home’.

The provision of the wetland, deck and roof garden results in the unique experience of 3 layers of ecology: wetland,ground, and tree canopy At all levels, these spaces are connected back to the school resulting in outdoor classrooms that can be used to enhance education and promote the importance of sustainability to the children.

A pedestrian route snakes through the wetland coming to a seated area of reflection looking over a pond and reed beds. This provides engagement with the environmental message of the project.

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TUTOR:

JAY NE BA RLOW

INDIVIDUAL PROJECT

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INDIVIDUAL PROJECT

TUTOR:

JAY NE BA RLOW

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TA S KS C A P E Sophie Atkinson

INDIVIDUAL PROJECT

sophie.atkinson99@yahoo.com

TUTOR:

JAY NE BA RLOW

COMMUNITY COLL ABOR ATION THRO U G H TIMBER CRAFT We cannot underestimate the value of a making skill set for the future of the New York economy and its role in social mobility.

Advocating for a holistic environment to make, learn, sell and connect; this project aims to expand New York’s current maker revolution north from Brooklyn into the Bronx.

From the focus of activity in the workshop to the structural building elements, timber permeates every aspect of this building.

Whilst in NYC itself timber is perhaps a scarce building focus in the concrete jungle, New York state is a highly forested area with thriving lumber sector.

This material emerged as a driver for the project from the macro form and plan arrangement to micro detailing throughout.

The focus in every area was to incorporate and show the process and life-cycle of this material from green , freshly forested lumber, to finely shaped and crafted timber pieces.

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ASSEMBLE Chong Sue Yen chongsueyen@gmail.com INDIVIDUAL PROJECT

THE URBAN FAC TORY

JAY NE BA RLOW

In seeking to bring the industry closer to the heart of the community, light industrial studios are co-located alongside a nursery to support the working parents of the factory. The street life is invited into the building with a vertical arcade of modular units forming an impermanent gallery - a modern cabinet of curiosities - wherein the various products assembled are sold, and their processes displayed.

TUTOR:

As Brooklyn’s population density increases, the city’s industrial zones continue to shrink, eaten by new developments and thus leaving no space for these institutions essential for the city’s social and economic development. This project seeks to integrate the conventionally distant industrial typology with the everyday life of the urban dweller, interrogating its place within the dense urban fabric of cities, whilst exploring the potential of infill sites in New York City.

Ultimately, the urban factory is a celebration of the assembly of parts and people.

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PATC H Bryony Johnson

TUTOR:

JAY NE BA RLOW

INDIVIDUAL PROJECT

bryony_johnson@icloud.com

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REDEVELOPING THE GROCERY STORE AS THE HEART OF THE COMMUNITY The relationship between food and cities has always been fundamental to our lives, shaping both the urban realm and the countryside that is farmed to feed us. It takes a gigantic effort to feed our urban population creating a plethora of problems. The proposal makes seasonal fresh food more accessible and affordable, directly improving the quality of life of local residents with the combined aims of alleviating health inequalities and reducing the associated environmental impacts.

Using the idea of a secret garden, the scheme creates a green haven for people in the busy city whilst encouraging biodiversity and wildlife in an otherwise sterile urban environment. The project’s aim is to educate the community in what they can do with their own limited spaces.

For example, in September when pumpkins ripen in the garden, a menu centred around them will be served in the restaurant and taught in the kitchens. Ingredients needed for these dishes will be available in the shop, and a pumpkin soup served in the takeaway.

The themes of interactivity and honesty are shown throughout the proposal with the dynamic facade design and seasonally adaptable garden frame.

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NOOSPHERE Anadya Kukreja ak2480@bath.ac.uk INDIVIDUAL PROJECT

AN ARCHITECTURAL HOSPITA L

JAY NE BA RLOW

It is a steel structure, elevated above ground, standing on two giant diagrid cores, functioning as service and physical movement centres. The institutional function rests on these cores, as multifunctional spaces at various levels, moving up from public to more restricted spaces. The building acts as an urban laboratory, experimenting with cutting edge technology to design future cities, architecture and personal spaces.

TUTOR:

The proposed project celebrates the idea of humans interacting with technology for the sustenance of a future coexisting with the natural world order. The building gives precedence to existing context and creates a park for the public at the site level, and a park for the employees at a building level.

The architecture intends to reflect this experimental ethos, by spreading awareness through its form as well as functions, by creating an interactive platform of the institute with its stakeholders, end users as well as global interest groups.

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OPTIK Xinyi Liu

TUTOR:

JAY NE BA RLOW

INDIVIDUAL PROJECT

xinyi120liu@gmail.com

E Y E C L INIC + M U LT ISENSORY GALLERY As of 2012, 4.2 million Americans aged 40 years and older suffer from uncorrectable vision impairment, out of which 1.02 million are blind. The experience of losing vision is often distressing and can be isolating.

However, the ‘sense and sensibility’ within health care institutes are often neglected in their blueprints.

The Optik Centre offers an experience for the patient where they can navigate themselves independently along the sensory wall. The clinic sits inside the concrete shell which shields the patients from the street environment. Entering the building, the concrete wall takes the visitors to the gallery which features a multi-sensory exhibition. Constructed with a glulam frame, the gallery space provides a view looking onto the landscape.

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UNFOLD Winnie Ng winnie99ng@yahoo.com INDIVIDUAL PROJECT

THE BRO OK LY N TEXTILE ACADEMY Located in the strategic port location of South Brooklyn, the Textile Academy serves as a joint institution for the design, research and manufacture of sustainable fabrics in working towards a closed loop economy.

JAY NE BA RLOW

The building’s linear form echoes the cycle of fibre processing from raw to refined, establishing a simplicity and order in its programmatic zoning and user circulation.

A standardised steel skeleton forms the primary orthogonal grid over which the oblique external envelope is laid, articulating a pattern of folds driven by solar orientation and the framing of views.

The use of corrugated and perforated steel expresses a level of solidity from afar, but unfolds a series of finer, filtered qualities up close.

TUTOR:

With the fashion industry responsible for 10% of global emissions, the proposal aims to bridge the apparent disconnect between the design phase and production of garments and textiles by co-locating education and industry under one roof.

The design school operates as an in-house recycling facility to collectively develop cleaner production methods in tandem with waste reduction.

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SIXTH POINT Lily O’Brien

INDIVIDUAL PROJECT

lilyobrien358@gmail.com

TUTOR:

JAY NE BA RLOW

A CONTINUATION OF THE 5-POINTZ LEGACY The project is a street art gallery in Queens, New York. The building acts as a canvas for the street artists of New York, creating an interactive and dynamic place to visit. The art displayed will be constantly evolving, changing with the influence of different visiting artists. The result is a vibrant gallery that is never the same as it was the day before.

The street art gallery will be located in the same neighbourhood as the former 5-Pointz, known as the ‘Graffiti Mecca’ which was redeveloped into luxury apartments. The gallery is not a replacement of 5-Pointz, but a continuation of the important legacy it left behind.

This project aims to give back to the Queens community which has been massively impacted by gentrification. The gallery will act as a focal point for the local community, providing education classes and raising awareness of the displacement and gentrification occurring in the local area.

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ANIMA Vincent Tam manchengtam004@gmail.com INDIVIDUAL PROJECT

“MAGGIE’S CENTRE” FOR LONELINESS

JAY NE BA RLOW

Loneliness is often perceived to only affect the elderly. A study reveals that even before COVID-19, 61% of American adults reported feeling lonely, with 18-22 year olds scoring highest on the loneliness survey.

Social isolation is equivalent to smoking 15 cigarettes/day; it is associated with higher rates of depression, anxiety, and suicide; higher rates of heart diseases and a 50% increased risk of dementia.

TUTOR:

The fundamental desire for companionship is ingrained into our psychology, an evolutionary trait from having safety in numbers. Alleviating loneliness compares to hunger as intrinsic to nourishing our physical and mental well-being.

To tackle this growing crisis, this centre proposes treating loneliness with rescued stray animals. The bond between people and pets can increase fitness, lower stress, and bring happiness. Resident patients spend their time at this sanctuary caring for pets as they rehabilitate from mental illness. Simultaneously, the pets exposed to the social environment will adjust much quicker into adoption. This buildings hopes to nurture this symbiotic relationship to tackle two big issues of our time.

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TUTOR:

J O N AT H A N LO G S D O N

INDIVIDUAL PROJECT

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INDIVIDUAL PROJECT

TUTOR:

J O N AT H A N LO G S D O N

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GRASSROOTS Aisha Al-Obaidi

INDIVIDUAL PROJECT

aisha_obaidi@yahoo.com

URBAN FARM “Flow in nature is helical.”

TUTOR:

J O N AT H A N LO G S D O N

- Biomimicry in Architecture Biophilia is a term that defines our innate affinity to connect with the natural world.

Humans have been intertwined with nature since the dawn of time, primarily to find food and shelter. As a result of capitalism and urbanisation, people have lost touch with both nature and the ability to grow and make their own food.

This is a proposal that aims to educate the locals of New York about the multitude of ways in which they can grow their own food with minimal effort and in a sustainable manner. The types of planting incorporated in this proposal range from a dwarf tree orchard, a community garden, mushroom growing, hydroponics and aquaponics.

This is done by the main tectonic feature of the design, ramps that spiral all the way from the ground floor to the roof, taking visitors on a journey of learning.

The voyage concludes with a rooftop wildflower meadow, on which visitors can enjoy fresh fruit from the farm or healthy food purchased from the local food market below.

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KINETICS Hannah Brookes hannahbrookes248@gmail.com INDIVIDUAL PROJECT

CENTRE FOR MOVEMENT AND DANCE

J O N AT H A N LO G S D O N

The Bronx has a reputation as a dangerous ghetto, and has a high prevalence of both physical and mental illness. The Kinetics Centre for Movement and Dance strives to address some of these issues by making dancing accessible to everyone, and by using dancing to improve individual health and happiness, as well as to bridge social barriers.

TUTOR:

Dancing is a fundamental part of human culture. Throughout all known history we have used dancing as a way to communicate, bond, and express our emotions. Dance can be used as a tool to encourage social bonding within communities; breaking barriers between class, age, race and gender.

It is important to create spaces where individual people and social groups can feel secure, whilst also creating spaces that encourage community involvement and social interaction. By arranging the studios as a string of charms around a central courtyard, the building provides opportunity for retreat and privacy in the studios, as well as interaction and gathering of multiple different groups within one central space; the courtyard.

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AMPHIBIOUS Phoebe Charnley

TUTOR:

J O N AT H A N LO G S D O N

INDIVIDUAL PROJECT

phoebe.charnley3@gmail.com

THE EAST RIVER BOATHO USE ‘Amphibious’ is a manifesto for the changes that need to happen to restore the relationship between the built environment and water.

Flooding has been ignored or dismissed and only now because of repeated catastrophic events has the realisation dawned that we must live alongside and adapt to water.

The East River Boathouse will encourage this interaction between the community and water through water sports, recreational activities, education and craftsmanship, as a medium to improve the lives of the people of New York with the ultimate goal of fulfilling the water’s potential to become a public space shared by all.

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A LL FA IT HS A ND NONE Caleb Lee clee1701@gmail.com INDIVIDUAL PROJECT

INTERFAITH COMMUNIT Y CENTRE FOR FLUSHING

J O N AT H A N LO G S D O N

This project built is built for the community of Flushing in a rapidly changing urban context and the NYC planning department are planning to rejuvenate a brownfield site on the banks of Flushing Creek. The project aims to be an important cultural building that expresses the history and people of the place, bringing attention to downtown Flushing- a catalyst for change.

TUTOR:

Flushing, Queens, NYC, is well known for being the birthplace for religious freedom in the USA. During the Flushing Remonstrance, in 1657, the people Flushing fought back against the leaders at the time who were restricting the practice of religion. Today, it is one of the most religiously diverse communities in the world.

The building is built for, and will be home to, the primary client, the ‘Flushing Interfaith Council’ and accommodates: a community centre with a cafe, hall and kitchens; an education zone with classrooms, an auditorium and a library; and two sacred levels with prayer rooms, a prayer garden and the oculus. The Oculus is a large sacred room that can hold special events like interfaith marriages in a building that accepts people from all walks of life.

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A HOUSE FOR EXPRESSION Aristides Mettas

INDIVIDUAL PROJECT

a.mettas@hotmail.com

TUTOR:

J O N AT H A N LO G S D O N

PERFORMANCE CENTRE AND THE ATRE WORKSHOP IN BRO OK LY N N YC A robust, experimental theatre in the heart of Brooklyn’s Cultural District uniting the existing educational community programmes of leading institutions under one roof for greater outreach.

An ‘informal’ place where grassroots artists, industry performers and the wider community meet to share flexible rehearsal studios, big design workshops and a variety of performance spaces.

The whole building is choreographed in 4 vertical zones; the enclosed building houses the rehearsal rooms, the workshop spaces and performance zone while the outer structure completes the urban block. It supports activities on the elevated platforms, services the enclosed building and enables the celebration of performance and the inner workings of theatre production.

An inside-out theatre, a catalyst for change and social debate; the building aims to become a platform for dialogue and provide a variety of indoor and outdoor spaces for the making-of and showcasing of performance.

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DEMI-ERGO Chrysostomos Neocleous chrysostomosneo@gmail.com INDIVIDUAL PROJECT

A NEW URBAN HUB REDEFINING INNOVATION

J O N AT H A N LO G S D O N

To support the dynamic processes of innovation the project is developed around a series of concrete cores -named Garagesthat structurally support the building’s functions. They act as anchors for specific processes while the open plan enables spontaneous interactions with users encouraged to reconfigure its form and redefine the rules of collaboration.

TUTOR:

Despite the plethora of educational institutions in Brooklyn, the borough owes its citizens an established civic space to bridge social and artificial barriers and foster the future innovation of society.

Wrapped by an outer ramp and pierced with openings on all floors, the building celebrates the movement of people and materials, and promotes interconnectivity.

The Brooklyn Innovation Centre therefore becomes a melting pot of individuals from various backgrounds, professions, and cultures that challenges the standardized form of silo working and embraces serendipity in the creative process.

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CLOSING THE LOOP Shreya Sarin

INDIVIDUAL PROJECT

Shreyasarin123@gmail.com

TUTOR:

J O N AT H A N LO G S D O N

REDEFINING M A NH AT TA N’S REL ATIONSHIP WITH WASTE Most of the waste produced by the residents of Manhattan is transported out of the borough and dumped in low-income areas of the neighbouring boroughs. This project attempts to challenge this practice and redefine the relationship that the residents of Manhattan have with the waste they produce.

The scheme consists of a combination of waste collection/ sorting facilities and educational up-cycling workshops. The workshops aim to empower people to rework their waste into a new high quality product and are organised according to the various processes of making. The journey of waste in the building is quite central to the design and relates closely to the movement of people in the building.

The vertical journey through the building culminates in the exhibition space, which displays finished products that have reached the end of a long making process.

The central timber courtyard embodies all the key ideas that the scheme revolved around: the process of making, the vertical movement of objects and people, and impermanence.

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COMMUNIT Y ROOTS Alexander Ryan Wu ryanwu.oundle@gmail.com

The programme features different levels of growing, from highly intensive hydroponics, to low intensity foraging, and grows a variety of crops to ensure a balanced diet. The community aspect of the scheme is equal to the growing agenda, seeking to grow not only fresh produce, but also a sustainable community. The growing is therefore predominantly community led, whilst the farm also provides job opportunities to the disadvantaged.

J O N AT H A N LO G S D O N

The scheme will grow and provide fresh produce, whilst educating about healthy eating and the processes of food production. The aim is to reconnect people with growing, and through this, establish a better relationship with their health and each other.

TUTOR:

The proposal is an urban farm in East Harlem that aims to tackle the neighbourhood’s issues with food and diet. East Harlem has a disproportionate amount of obesity and diabetes, which can be attributed to the lack of access to affordable healthy foods and fresh produce, as well as poor health education.

INDIVIDUAL PROJECT

G ROWIN G A HE A LT H Y COMMUNITY

The main building and market square sits under a permeable steel and glass canopy.

To the north, a gabion walled garden contains the community farm. The 2 blocks are connected by a newly pedestrianised street.

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JULIA K ASHDAN-BROWN

INDIVIDUAL PROJECT

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JULIA K ASHDAN-BROWN

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SECOND HOME Jason Chan

INDIVIDUAL PROJECT

jason.chan905@gmail.com

TUTOR:

JULIA K ASHDAN-BROWN

E A RLY Y E A RS ED U CAT ION & AFTER SCHOOL CENTRE Situated in The Bronx within a district of poverty, the centre brings public early years education for ages 3-6, and an after school programme for ages 3-11 to those families who cannot afford it.

Reaching out to the parents and the wider community, the centre also provides opportunities for parenting programmes and community events within the tower and the multi-purpose hall.

Following the Steiner School principles, the centre aims to be a warm and domestic environment which creates a feeling of safety within a close-knit community. Influenced by the kindergarten village concept, the classrooms are arranged in modules which each have their own kitchens and washrooms, with the addition of napping areas in the younger kid’s modules; becoming their ‘second home’.

Reinforcing the children’s identification with nature, the building comprises of an all timber structure which ties the building in with the surrounding courtyards and gardens.

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11:22 SKILLS BUILDING Tom Ellis tom@thomasmae.co.uk INDIVIDUAL PROJECT

THE THERAPY OF MAKING

JULIA K ASHDAN-BROWN

Slotted into a restricted site alongside Jerome Avenue, the proposal rises 40 metres into the sky. The building presents itself as a further ‘natural interruption’ to a street elevation still scarred by the 1980s fires that devastated South Bronx.

Rammed concrete walls at the base of the building provide striation similar to the Manhattan Schist found through the city’s parks. Charred timber facades rise from this base, referencing the historic struggles of the borough that are synonymous with the struggles of today’s youth. An overlaying oak frame provides the perfect growing medium for the extensive planting that rises up the staggered terraces, turning the workshops into natural havens.

TUTOR:

The 11:22 Skills Building is a pioneering facility that looks to alleviate the social and economic issues facing the youth population of South Bronx. A series of workshops, counselling spaces and community assets are combined to provide specialist education facilities that can be utilised by local schools and the borough’s disconnected youth. The skills taught through the workshops not only aim to provide essential employment skills but they also deliver mental health education and support through the therapeutic quality of making.

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M A I N TA I N Martha Eustace

TUTOR:

JULIA K ASHDAN-BROWN

INDIVIDUAL PROJECT

eustacemartha12@gmail.com

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A ZERO-WASTE COMMUNIT Y EDUCATION CENTRE FOR THE SOUTH BRONX Seeking to create an equitable balance between zero-waste agendas and social functions, Maintain combines basic amenities for deprived community members alongside educational facilities, breaking down cultural barriers and inviting all demographics in to learn. Distributing these spaces equally throughout the building avoids any notion of social inequity in the design and allows users of different backgrounds to see that positive change can occur at all levels of society.

Operating on its own circular economy framework, Maintain is powered by the community, who are able to contribute directly to powering the building by feeding compost into BioGas generator. Managing operational energy becomes legible to the public, thus creating an educational tool, embedded in the life of the building. The programme is organised by waste flows with materials and processing spaces located in heavy masonry volumes, to educate and engage users on different types of waste regeneration methods. Community spaces are located in the lighter timber frame structure which unites masonry volumes, symbolising the user’s place at the heart of the scheme.

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

URBAN BUCOLICS Shutong Fan fst11166111@gmail.com INDIVIDUAL PROJECT

GROWING IN A TOWER

The lettuce, tomato and berries absorb the natural light in day time, through the facade made of polycarbonate, and will be illuminated by LED light at night to boost their speed of growing. The colour of the LED light is carefully chosen from the red and blue spectrum based on the specific growing requirement of the plants.

JULIA K ASHDAN-BROWN

This project merges the typical New York tower and podium form with the emerging vertical farming technology. The idea of vertical farming inside a tower not only makes the farm more productive and energy efficient, but also being a symbolic beacon of the city.

TUTOR:

To tackle the issue of the vulnerable and carbon- intensive food supply chain in New York, I aim to design an urban farm in the centre of Brooklyn to make the system more resilient.

Farmer market, restaurant and workshops are located in the podium to interact with the neighbourhood. The inclusive space is provided for them to learn skills, socialise, or simply taste the vegetables from the farm.

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BOHEMIA Galina Lyubimova

TUTOR:

JULIA K ASHDAN-BROWN

INDIVIDUAL PROJECT

gal-zv@yandex.ru

SPACE FOR CRE ATIV IT Y The scheme’s goal was to design a locus point for the artists and creatives in East Harlem, Manhattan. The programme incorporates a series of rentable studios fitted for various artistic purposes, a gallery space for displaying the local exhibitions and works created in the building, a coworking space available to the public, a small restaurant, and a new recreational green zone. The architecture was inspired by 20th-century art movements, reflecting on the relationship between the artistic and architectural disciplines.

The studio spaces in the scheme vary from private ground floor rooms with a workshop courtyard access, designed for working with potentially harmful substances, to a large roof-lit open studio on the top floor. The goal was to design a series of flexible spaces which could easily be adapted to various purposes in the future and serve the local community, providing a calm and quiet refuge from the bustling city around it.

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RECONNECT Jing Hui Tay jinghui0626@gmail.com INDIVIDUAL PROJECT

DEMENTIA INTERG ENER ATIONAL DAY CARE TUTOR: JULIA K ASHDAN-BROWN

People with dementia are often isolated from society and gradually lose their independence as they fear the loss of their cognitive abilities and memories. The scheme’s main theme is reconnecting to society. It aims to introduce a secure space where they could feel comfortable and regain a sense of independence. By introducing an intergenerational day care, the dementia demographic is put into the centre of community activity and allowing both the young and old to learn new experiences together as well as learn from each other.

Therefore, the scheme plays around the idea of informal social activities and interactions which are essential to people with dementia by incorporating social stairs, or rather the stoop, internally and externally. The social stairs encourages movement and activity, becoming a habitable space where users gather to chat, have lunch or read a book.

Additionally, the scheme looks into connecting inside spaces with nature through having a garden atrium and accessible roof gardens as a source of holistic therapy for the elderly.

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SANCTUARY FOR SUCCESS Charlotte Ward

INDIVIDUAL PROJECT

charlotte.ccw@gmail.com

TUTOR:

JULIA K ASHDAN-BROWN

A BIOPHILIC COMPLEX FOR ENTREPRENEURIAL WOMEN The Sanctuary, for women from underserved backgrounds, seeks to diminish issues regarding the motherhood pay gap and mental health in the business sector by offering access to basic necessary facilities.

The scheme provides a workplace for startups, community hub, support nursery and educational workshop to give women a kick-start to their American Dreams. Wellbeing is promoted throughout, with the use of biophilic patterns, as the key to success.

Located adjacent to the Bronx Park and river, the biophilic scheme aims to set a sustainable precedent. Drawing nature out of its man made boundaries exposes users to its therapeutic benefits. A timber pergola defines a protected circulation route across the site and connects the varied buildings to the adjoining courtyard environments.

The long term vision for the scheme is to return the grey field site to its former green state. Once nature has fully established itself, using the exposed timber framework, the site can be gifted to the community.

Only earth walls will remain, forming a loose but protective boundary to a nature flooded public realm, reclaimed from the rigid grid system.

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GROW TH Kathy Yan kathypacificcafe@hotmail.com INDIVIDUAL PROJECT TUTOR:

The project is a community center located in South Jamaica in the borough of Queens, it is dedicated to providing for non-American born citizens especially those who have Limited English Proficiency (LEP) and those that have difficulty accessing resources in building skillsets, to allow them to search for employment in the modern competitive world. My scheme is a program designed to equip those lacking the necessary skills and motivation by introducing a variety of non-formal education through developing hobbies and social interactions. Not only will this programme help youth prepare for future employment, it also gives emphasis to assisting adults who are either single parents and have difficulty supporting their young children, or those that are in search of new beginnings in their life.

JULIA K ASHDAN-BROWN

JAMAICA COMMUNITY CENTER

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M A RK WAT K I N S

INDIVIDUAL PROJECT

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M A RK WAT K I N S

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THRESHOLD Dina Abu Shamat

INDIVIDUAL PROJECT

dinaabushamat9@gmail.com

TUTOR:

M A RK WAT K I N S

OUTSET In light of the shutting down of the Rikers Island Prison Complex, and the collaboration of New York’s Mayor de Blasio and the New York City Council to reform the incarceration system in New York City, the council will be sponsoring the opening of a re-entry house in Brooklyn. As re-entry houses for women are generally lacking, this one will be designed for women only to act as a threshold for them to reintegrate back into society after their imprisonment.

It will offer shelter, education, and rehabilitation for the ex-detainees, to allow them then to start fresh, and write the beginning of the next chapter of their lives.

These women have left prisons with not only poor living conditions but also poor architectural qualities. So, the aim of this building is to essentially give them their lives back, again, not just in its programme but also its architecture.

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RHYTHMIC Lydia Edwards lydiaedwards329@gmail.com INDIVIDUAL PROJECT

BRONX DANCE STUDIO

Part I: Dance studios sit alongside the Harlem River. Theatre sits at the heart of the building with dance exhibition & dining areas enclosing it for acoustic protection.

M A RK WAT K I N S

Design Moves

TUTOR:

A project situated in Mill Pond Park providing performance spaces for African dance, Hip Hop, Salsa & Ballet for the Alvin Ailey Dance Theater Company. The studios sit beside the Bronx’s Universal Hip Hop Museum due to open in 2023. South Bronx is the birth place of Hip Hop and street dance.

Therefore, the project aims to exhibit the borough’s rich dance culture with a theatre, dance exhibitions and dining areas.

Part II: Dance studio lobbies & fire cores act as an acoustic buffer in between the studios and the elevated highway. These are angled for views up and down the road.

Part III: A reed bed beside the park’s inlet is used to remove pollutants from the building’s grey water. An external performance stage sits beside the building for dance battles.

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C O N T EM PL AT I O N Gabriel Fox

INDIVIDUAL PROJECT

gabrielfox98@gmail.com

TUTOR:

M A RK WAT K I N S

A COMMUNITY CENTRE FOR PHILOSOPHY AND MEDITATION Places of worship have long been sanctuaries where people go to seek solace, forgiveness and communion. In an increasingly secular world, this typology no longer serves the general population.

Instead, we need a new sanctuary which also acts as a forum for the discussion of philosophy and spirituality. I therefore propose a secular church; a place for grassroots philosophy, spiritual exploration, and quiet contemplation.

The building sits at the edge of Morningside Park, in Manhattan. It weaves between existing trees, sitting sensitively in its surroundings, while also responding to the urban context.

Externally, roof terraces provide private meditative gardens, while there is a public picnic area and pavilion at ground level. The pavilion is one of a number of meditative spaces within the scheme, which also include window seats, yoga studios, and a main meditation space.

The play of light, especially in this main meditation space, is a key aspect of the scheme; as is the choice of materials, which is intended to create a warm, calm, and earthy atmosphere inside.

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[parti diagram in black]

A PL ACE TO LISTEN A PL ACE TO TOUCH Peter Holmes peterholmes8547@gmail.com INDIVIDUAL PROJECT

WAYS OF SEEING

M A RK WAT K I N S

Through the modulation of reverberation, resonance and noise, the sounds of the building both orientate users and provide an expressive auditory experience. Within circulation spaces the varying radius’of thin tile Guastavino Vaults generate a changing acoustic to demarcate thresholds. Within the building’s varying spaces the playful manipulation of sound is embraced, while never overshadowing the need for practical acoustic conditions. The use of unusual materials provides another expressive way for the blind to interact with the architecture. Contrasts in grain, solidity and absorption throughout the varying interior and exterior surfaces generate a tactile map describing the building’s various uses and adjacencies.

TUTOR:

LightHouse for the Blind provides support and services for people living with blindness or visual impairment. The project proposes a facility to provide these much needed services within the borough of the Bronx. Driven by the coordination of sensory experiences beyond the visual, the design questions how the blind experience the built environment around them.

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TOGETHER Pierre Jerdak

INDIVIDUAL PROJECT

jerdakp@gmail.com

TUTOR:

M A RK WAT K I N S

A FOC US ON DEBATE AND SOCIAL INTERACTION The proposal is a music and community centre which aims to encourage a grassroots redirection of hip hop at its birthplace, South Bronx. It is a platform for people to learn and celebrate the genre’s culture, delivering hip hop’s messages of positivity and community inclusion back into the mainstream. Spaces are also provided for independent artists to produce and promote their work.

The Together Centre is not just a banal urban structure as an extension to the adjacent park. This project seeks to become a hub of discussion, dealing with polemics and divisive issues. By creating a circle for debate, consideration of the other can begin and then cohabitation is possible..

Thus, it is a question of providing the neighborhood with its own protected and porous environment, available for both sad and happy events. Numerous spaces and activities are dispersed in order to attract the greatest variety of people and subsequently enrich the perspectives.

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B E AT S, RH Y M E S + L I FE Pontus (Chun Yat) Lee pontuscylee@gmail.com INDIVIDUAL PROJECT

RESTORING THE SOUL OF HIP HOP

M A RK WAT K I N S

The heart of the scheme is the venue space, which is overlooked from the rest of the building at various points. This is inspired by spontaneous performances being viewed from the stoops, balconies and windows along the streets of New York.

The street is brought into the site through the open courtyard and the glazed alleyway.

Along with the inhabitable roof, hip hop’s culture of spatial adaptation is reflected in the multi-use nature of these spaces.

TUTOR:

The proposal is a music and community centre which aims to encourage a grassroots redirection of hip hop at its birthplace, South Bronx. It is a platform for people to learn and celebrate the genre’s culture, delivering hip hop’s messages of positivity and community inclusion back into the mainstream. Spaces are also provided for independent artists to produce and promote their work.

Through the lens of music and art, the centre reinvigorates the local community by restoring the soul of hip hop.

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REFORM Hania Salem

INDIVIDUAL PROJECT

hsalem@hotmail.co.uk

TUTOR:

M A RK WAT K I N S

A NE W JAIL TEMPL ATE

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For many years, jails have been designed to punish and harm their users but, when looking at the bigger picture, who does that help? In response to the planned closure of Rikers Island, an inhumane jail complex in New York, this proposal aims to pioneer a new age of rehabilitative jail design. Inmates will leave to become beneficial members of society and staff will feel proud of where they work.

Jails that follow this template will no longer be isolated from society but designed to a domestic scale, and local to the inmates’ home, to help with the transition postrelease. They will no longer be crowded and unsafe for both prisoners and staff. They will no longer dehumanise the inhabitants but instead help and rehabilitate them.

Furthermore, the gardens and courtyards visually aid with well-being in addition to being used for horticultural therapy. Finally, at the heart of each jail will be a cafe to bind the different typologies and attract the public, closing the gap between convicts and the wider community. Adjacent to it is a care centre offering classes and therapy to support released inmates, their families and staff. This is a proposal for healing people instead of harming them.

Staff

Jail Activities

Care Centre

Cafe

Jail Accommodation

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TUTOR:

M AT T H E W H A RRI S O N

INDIVIDUAL PROJECT

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TUTOR:

M AT T H E W H A RRI S O N

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RI S I N G WAT ERS Crystal Cheung

TUTOR:

M AT T H E W H A RRI S O N

INDIVIDUAL PROJECT

crystal.cheunglc98@gmail.com

A FLOOD EDUCATION AND TRAINING CENTRE IN NYC With 520 miles of waterfront and many lowlying neighbourhoods, New York City is one of three of America’s most flood-vulnerable urban centres. Due to climate change, the increase in extreme and frequent coastal storms and projected sea level rise (SLR) will increase the elevation of high tides or even over topping of the shoreline in the future.

This scheme aims to raise awareness of climate change-induced flooding disasters through the provision of experiential activities such as interactive exhibitions, real-life flood training and educational programmes.

Located on the waterfront of Sunset Park, Brooklyn, a series of comprehensive flood mitigation strategies have been adopted at both a master-planning and building level to increase the climate resiliency of the proposal.

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A WEN XIN SPACE Kitiya Chiempitayanuvat kitiya.chiem@gmail.com INDIVIDUAL PROJECT

COMMUNIT Y THE ATRE FOR THE ASIAN AMERICAN COMMUNITY IN QUEENS

M AT T H E W H A RRI S O N

The main component of the building is the community theatre that showcases Asian performances and culture. There are also multi-purpose studios for activities such as English classes, rehearsals, performance lessons, seminars and other Asian traditional activities. Furthermore, there are social spaces provided for conversations within the community across generation gaps and language barriers.

TUTOR:

The intention of the project is to develop Chinatown in Queens, NYC, the borough where the majority of Asians are living in, and create a place where the Asian community can express their cultures, feel at ease and connect to the wider community. One of the main issues for Asian Americans in NYC is their limited English proficiency so the building also aims to provide educational services that can help to tackle their poverty.

The interior of the auditorium resembles a traditional Asian paper umbrella. This is because umbrellas don’t only represent an Asian culture but also serve the same purpose as the building; a shelter.

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JOURNEY Fannia Chung

INDIVIDUAL PROJECT

fannia.chung@gmail.com

TUTOR:

M AT T H E W H A RRI S O N

PROTECTION / GARDENS Located near a primary train station and on a major junction in Manhattan, the building is to serve people who journey through or to the area. This wellbeing centre provides activities tailored to visitors seeking different outcomes, with an ultimate goal for themselves to go through a personal journey in managing stress and finding relaxation.

The homogeneous outer facade acts as a hard outer shell that protects the intimate activities inside the building. The sense of security is emphasised through the thick sandwich service zones at the front and back of the building, protecting the users’ vulnerable mental states.

Greenery is associated with positive mental health and helps relieving stress.

The extensive green spaces in the building benefit the users visually and physically.

The extra layer of walls surrounding the garden isolate the garden from the busyness of the surrounding context, but also form an emotional threshold for visitors.

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FORT DÉFIER Ryan Hillier ryanhillier38@gmail.com INDIVIDUAL PROJECT

PRODUC TION, EDUCATION & ENLIGHTENMENT ON THE A PE X OF BRO OK LY N

With a tectonic expression designed to endorse timber construction methods while reflecting upon the maritime context, a combination of demountable glulam frames and angled CLT panels support raised structures that allow the building services to use the water below to reduce energy usage.

M AT T H E W H A RRI S O N

A combined education & community awareness programme allows the proposal to enlighten the public on both flooding and wider sustainability issues, taking visitors on a journey of Shock, Hope and Awareness across the buildings and out over the bay.

TUTOR:

As rising flood levels threaten Red Hook’s once booming waterfront industry, Fort Défier proposes a new form of biotechnological manufacturing, directly confronting the environmental crisis by remitting carbon-heavy conventional production techniques.

While advocating the client’s desire to support natural wildlife with a landscaped park and extended biodiversity range, the proposal’s embedment into the landscape embraces the water’s peril and uses it to restore the spirit of the neighbourhood.

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SKÖNT Stathis Laouris

TUTOR:

M AT T H E W H A RRI S O N

INDIVIDUAL PROJECT

st.laouris@gmail.com

CIRCULAR ECONOMY WASTE PROCESSING P L A N T; S K I L L S R E T R A I N I N G AND EDUCATION A protest to the conventional factories of its surrounding context, the proposal becomes an embodiment of sustainability so that nothing is wasted or thrown into the ever-growing mountains of trash. The facility is linked to a sustainable network that covers the whole process of plastic recycling from the collection of waste, to the manufacturing of recycled products.

In addition, it provides free training programmes for low-income individuals to become skilled workers for the factory.

Featuring an urban industrial symbiosis acknowledging the worker, greenery is brought into Brooklyn to reconnect people with nature. ‘The necklace of activities’ leads to playground pavilions that are constructed from recycled materials produced by the factory.

The simplicity of the modular design developed the idea of the scheme serving as a prototype facility for Ikea, then applicable to various contexts around the world.

A trademark red colour elevates its status to a landmark, attracting visitors and making it instantly recognisable from street and water.

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REFORM Tsian Lee Wen tsianleewen@gmail.com INDIVIDUAL PROJECT

REH A BILITATION THRO U G H ARTS, A COMMUNITY & ARTS / SKILLS CENTRE

M AT T H E W H A RRI S O N

Therapy through visual art, music and dance is an excellent way to express feelings that may be difficult to vocalize, encouraging healing through self-expression. Gardening and time among nature is also therapeutic.

Combining these functions in a community building, it becomes a space for all, where one can heal or simply learn and enjoy, breaking the stigma for those who have endured difficult pasts. The architecture promotes community, healing and learning in the different functions, the calming use of timber and different garden spaces, all with positive effects on mental health.

TUTOR:

Countering the cycle of social rejection and re-conviction, fostering community integration, the building is home to various functions united by these goals. The skills taught (manufacturing, cooking, gardening) help users contribute positively to society while learning a trade to better themselves.

Functions are expressed externally and materially: the timber café & hall present themselves to the street, inviting users in, the softer edge of the building holds therapy & roof gardens, and the urban edge contains the arts’ rooms, gracing the opposite corner of the site.

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BALNEAE Meg Marumoto

INDIVIDUAL PROJECT

mmarumoto.design@gmail.com

TUTOR:

M AT T H E W H A RRI S O N

BATHHO USE FOR CONSTRUCTION WORKERS Despite the high number of physical injuries and the extent of mental illnesses experienced by constructions workers, they are often not taken care of. The scheme responds to this national and global issue by proposing a bathhouse which acts as a mental and physical healing space for workers to cleanse their bodies, relax in the baths and talk with friends after a day of work.

As communal bathing is not a common culture in New York, the challenge was to draw users to the building. In order to do this, the scheme also accommodates a canteen, office space and therapy facilities which workers can use easily. In the bathhouse, mix-gender baths create a sociable space while the gender separate baths provides more sensual bathing experience.

In the bathhouse, workers are required take off their shoes upon entry. As they undress, cleanse and bathe, they become more sensitive to the tactile materials, hot water and the steamy rooms. The illustrations showcase the finishes developing a contrast between the rough and the relaxed.

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THE OKO PROJECT Jessica Sin jessica_sin@icloud.com INDIVIDUAL PROJECT

AN URBAN SANCTUR AY

A welcoming and open space is essential for a public building, therefore the design uses a timber grid shell structure to provide an unobstructed open space. It simultaneously acts as the supporting structure and space defining element. The roof and the columned structure is formed as an uninterrupted continuity, no distinct vertical columns or horizontal beams are to be found. The parametric design, which resonates with shapes and forms that can be found in nature, is proven to improve our health and wellbeing.

M AT T H E W H A RRI S O N

On top of high quality food, the project will also provide education for the general public, more job opportunities and a greener environment. Local community will be the main focus in order to create a close economy within the surrounding areas.

TUTOR:

The OKO Projects aims to provide a space for an inclusive community, serving farmers, families, students, scientists, and the retired. It is a celebration of the hybrid of technology and agriculture, as it is crucial to introduce this idea to people from all walks of life regarding the food security problem in the future.

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MICK BRUNDLE

INDIVIDUAL PROJECT

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INDIVIDUAL PROJECT

TUTOR:

MICK BRUNDLE

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SPORTS CENTRE Adam Broadbent

INDIVIDUAL PROJECT

adamrbroadbent@gmail.com

TUTOR:

MICK BRUNDLE

FOR THE NEIGHBOURHOOD OF EAST ELMHURST This sports centre provides a place of recreation for students attending Aerospace Science Magnet School - a public middle school in East Elmhurst (Queens, NYC).The site; Helen Marshall Playground, is set amongst a residential neighbourhood with limited civic amenities. A fitness gym, studio, climbing wall, social spaces and a large multi-use sports hall are all contained within the building. A currently underutilized public skate park has been completely redeveloped and integrated into the landscaping design. Underclad with stainless steel, A peristyle roof surrounds the building to welcome social activity underneath.

A sawtooth roof provides uniform daylight to the internal spaces. South orientated solar panels are capable of contributing 25% to the building’s energy consumption.

SIP panels are fixed around the primary structure, creating a series of pilasters which are colourfully expressed in elevation.

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FISSURE Benedict Chapman benchapman3009@gmail.com INDIVIDUAL PROJECT

BECAUSE IT IS THERE

TUTOR: MICK BRUNDLE

The dense micro forest and large rammed earth cliffs remove the visitor from the city with the small pocket of green overshadowed by the towering cliff they are about to climb. Split in two, the natural material of the rammed earth rises out of the ground as if some force of nature has fissured it in two. Horizontal strata serves to accentuate the verticality of the two monolithic cliffs. Upon passing through the cave-like threshold of the building, the visitor arrives at the precipice of a canyon extending up into the sky with climbers scattered across all its façades. Climbing the building to heights of 30 metres gives the occupant a new relation to the city as they sit over the rooves of Brooklyn watching the trains pass on the elevated railway below.

Non-climbing patrons make use of the rooms and spaces stereotomically carved out of the two rammed earth faces like caves in a cliff – still with the rammed earth present on the interior. Views and glimpses into the large void in-between mean that they are always connected to the heart of the building whether they are working, practising yoga or just visiting the café.

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BUILDING TO LEARN Alisa Dozorceva

INDIVIDUAL PROJECT

alisadozorceva@gmail.com

TUTOR:

MICK BRUNDLE

LIG HT - NAT URE - AIR

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We are not that much different from plants.

We need plenty of sunlight, fresh air and an appropriate place to grow.

Unfortunately, many schools, the places where humans are supposed to grow, provide neither of the above. That is why the core of this project is rooted in the research on the environmental factors supporting child development. Every school is not just a place for children to grow. It is an opportunity for an architect to improve their understanding and their knowledge, It’s a building created to learn.

The building is stepping away from the East river creating a series of terraces allowing each class to have a place for an outside work and play. Corridors are replaced by open, flexible spaces and promenades, creating communication and unique learning opportunities. Natural ventilation, water collection, and other environmental consideration save resources and create a heather building environment. Those and many other design elements, supported by a variety of studies on school performance, are combined to create a project that will hopefully contribute to the future of school architecture.

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ART FOR ALL Lok Lam Ma loklammakm@gmail.com INDIVIDUAL PROJECT

THERAPEUTIC

MICK BRUNDLE

Art is essential for us to express and discover ourselves. The performing centre aims to provide an immersive experience for all. The studios should restore a measure of equilibrium to our listing inner selves.

TUTOR:

In the cultural capital of the world, New York is lacking quality art and music education for the deprived neighbourhood. This community performing art centre aims to reinforce the importance of art in education, providing quality performance space and studios for local schools and communities.

Designing a performing art centre is like creating a set and curating a magical journey. The perforated bricks wrap around the building like a curtain unveiling.

The performance courtyard and the community garden act as the backdrop of the performance.

This project has a medium budget, serving the local residents in the tough neighbourhood of Brooklyn.

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DUTCH CULTUR AL CENTRE Piers Francis Riordan

TUTOR:

MICK BRUNDLE

INDIVIDUAL PROJECT

archpfr@gmail.com

RECLAIMED BRICKWORK This centre aims foster and share knowledge and appreciation of Dutch culture in the United States of America. Located in the south-eastern area of Brooklyn, the centre is positioned adjacent to the Wycoff house, which is the oldest house in New York City, having been built by the Dutch.

Comprised of a main building with an auxiliary pavilion containing café serving Dutch food, the centre fully interacts with the neighbouring park and house through the use of terraces. The main centre was kept narrow in the form of an L-shape to ensure natural ventilation could be used, and the material choices reflect and resolve the tension between the built environment to the north-west and the more luscious park to the south-east.

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HOUSE OF ONE Haoxuan Tan htan.acer@gmail.com INDIVIDUAL PROJECT

A CELEBR ATION OF DIVERSIT Y The aim of the scheme is to create a place that celebrates the diversity and coexistence of religions and races, and encourages people of all faiths and ethnic backgrounds to worship, interact, and learn.

TUTOR: MICK BRUNDLE

The site is in a high-risk flood zone. As a result, the ground floor is elevated 1.2m at the site’s highest point and 2.4m at its lowest point. By raising the ground floor, the building not only avoids flooding, but also creates a sense of separation from the urban environment. Five religious pavilions face specific directions in accordance with their traditions. The pavilions have similar external appearances to indicate unity. Different shingle cladding patterns are created to hint at their differences.

In contrast, different interior spaces have been created and celebrate the uniqueness of each religion. A covered open cloister connects the religious pavilions on the ground floor, from which visitors can gaze down to the gardens on the lower ground floor. The community centre is located on the lower ground floor, which has gardens in between public facilities. Galleries are situated on the first floor, where visitors can see artefacts associated with each religion and view into the worship spaces.

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PAIRIDAĒZ A Robyn Wilkinson

TUTOR:

MICK BRUNDLE

INDIVIDUAL PROJECT

robyn.wilkinson@hotmail.co.uk

BRIS TOL BOTA NIC CENTRE FOR WELLNESS AND STUDY At the site of the University of Bristol Botanic Gardens, the building will double as a visitor centre with a small cafe that provides hot drinks and other refreshments. Reading material that aligns with the current planting arrangement will also be available.

A study centre designed to cater to all aspects of student life, intended to detract from the daily stresses of being a student though the built environment. Student Talking Therapy facilities are houses within to ensure no voice goes unheard, and to support provisions for mental health available at the University of Bristol.

Acting as an oasis in the desert for the weary student that still has work to do, the building will be ‘greened’ internally and externally to provide biophillic mental health benefits as well as sustainability and biodiversity benefits.

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TO F U L A B O R ATO RY Hans Ye hanxu.1128@gmail.com INDIVIDUAL PROJECT MICK BRUNDLE

America has an efficient but unhealthy food system predominated by the competing capitalist food corporations whose primary goal is to make a profit. Hence public health and the nutritional value of the food are undermined, unnecessary ingredients added to foods as the metabolic disrupt or, and cheap yet addictive.

TUTOR:

A ME AT A LT ERN AT I V E

The unhealthy diet also negatively impacts the environment, since most Americans still get their proteins from animal foods, mainly burgers and beef.

Tofu, also known as bean curd, is a popular food made by curdling and solidifying fresh soy milk It has a similar creamy soft texture to the cheese; tofu is an entirely organic and plant-based protein substitute.

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NIGEL BEDFORD

INDIVIDUAL PROJECT

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INDIVIDUAL PROJECT

TUTOR:

NIGEL BEDFORD

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UPLIFT Carol Almokatash

INDIVIDUAL PROJECT

c.mokatash@gmail.com

Active Design

A CENTRE FOR HOLISTIC WELLNESS AND PROSPERIT Y

TUTOR:

NIGEL BEDFORD

There is a 10 year disparity between the highest and lowest life expectancies across New York’s neighbourhoods.

Located in Morrisania in the Bronx, UpLift aims to address the challenges of health inequity in one of New York’s poorest neighbourhoods.

The design process began by studying different models for measuring wellness and simplifying them into three main dimensions. Each dimension was then analysed and related to a unique design application.

Wellness Dimension

Design Application

Physical

Active Design

Social

Openness & Transparency

Mental & Intellectual

Nature & Environment

These dimensions of wellness do not exist in isolation and are intrinsically connected to each other. Therefore, upLift houses social spaces, education, employability, and fitness facilities all under one roof.

Individuals can seek better physical, mental, social, and economic health, leading to an overall more prosperous life and uplifted community.

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Openness & Transparency

Nature & Environment

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D I G I TA L A PAT H E I A Jack Collins jack99.collins@gmail.com INDIVIDUAL PROJECT

OPP OSING DIG ITA L ADDICTION

TUTOR: NIGEL BEDFORD

A mental health treatment and educational experience centre has been proposed for the people of West Bronx. Focus will be placed on combating the mental and physical conditions caused by our digital culture. The building provides facility for ‘walk in’ visitors to the centre and more frequent users such as patients and staff. An alternative perspective is to be provided, where the architecture seeks to evoke questions of place, of being and interaction. Can an architecture be generated that people will put down their phones for?

Woven into the narrative of this project is the secularisation of humanity, the holes we are trying to fill with technology and what we are losing in the process. In architectural terms the civic health and identity of neighbourhoods are being eroded, with the decay of once important religious infrastructure. The site incorporates a derelict religious building, the Christ Congressional Church of Mount Hope.

In the restoration of its central Oculus and in the symbiosis formed with new built elements.

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economic opportunities for the community

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RETURN Apolline de Meeûs d’Argenteuil

INDIVIDUAL PROJECT

apodemeeus@yahoo.com.ar

0

TUTOR:

NIGEL BEDFORD

A RETURN TO SOCIETY THROUGH CRAFTS

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Looking at NYC’s demography, the correlation between low income/ unemployment rates and high crime rates is clear. The rate of imprisonment in NYC is one of the highest in the country. The American incarceration system is based on punishment and the living conditions of the prisoners are deplorable. This project aims to satisfy the community’s desire and demand for investment in economic, cultural and educational opportunities and the need for the government to punish those who break the law.

This project sees incarceration as a time of rehabilitation rather than a punishment. The scheme offers young offenders opportunities to rebuild their lives, discover new horizons and learn skills that will serve them after release.

In its layout, the building envelops a large courtyard around which several workshops will revolve. This court is divided by a glass pavilion, separated into a private and public court. This idea of transparency is used to maintain contact between the public and the prisoners, avoiding the isolation of the latter and dissolves preconceived ideas about prisons.

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THE HARLEM SCENE Warren D’Souza warrendsouza99@gmail.com INDIVIDUAL PROJECT

CENTRE FOR THE WRITTEN AND PERFORMING ARTS The Scene is set at the centre of Harlem’s cultural corridor, where the gentrifying surroundings are fading the identity of the community. The Proposal aims to continue Harlem’s cultural and artistic legacy for the current generation, representing the community’s contemporary stories through writing and performance – celebrating Harlem’s Scene.

TUTOR: NIGEL BEDFORD

The monolithic exterior shell is inspired by the masonry architecture of Harlem, with a universal sloped plane of landscaping that forms the entry passage, acting as an evolution of the vernacular stoop.

The timber canopy breaks the formal rhythm, illuminating the exhibition inside.

Puncturing through the canopy and breaking free from the city grid, the central theatre mass is a manifestation of the free-spirited nature of performance and expression in Harlem.

A contrasting warm timber clad interior, that is lit by soft shafts of top-light, reveal Harlem’s inner beauty. Internal spaces offer a range of activities, with more intimate spaces for writing and reflection, as well as active spaces that encourage social interactions. At the proposal’s heart is the theatre, which provides an entirely different sensory experience, transporting you into the narratives of the community and reinvigorating what makes each individual’s story so truly special.

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A WAY THRO U G H THE WOODS Muskan Kheria

INDIVIDUAL PROJECT

muskan2029@gmail.com

TUTOR:

NIGEL BEDFORD

THE NOS TA LG IA OF CHILDHOOD The quality of East Harlem’s parks and open spaces are below the city’s average, posing a safety concern for youth who play sports in the neighbourhood. This project was an initiative to take charge as a designer and uplift an existing park in East Harlem and give back to the youth of this neighbourhood.

The Youth Centre aims to outline the benefits a well designed youth centre would have on youth safety and well being in a gentrifying neighbourhood like East Harlem. The aim is to bring the youth of East Harlem to a safe place where they could engage in activities they would most want to engage in.

The scheme sits on a park surrounded by trees, and aims to draw inspiration from it surroundings. The material palette for the facade has been chosen very carefully keeping in mind the colours and tones seen in woodlands.

Some of the key spaces within this building include an open skatepark, a dance room, an art workshop and a Montessori. The design provides a character to this scheme which echoes its contextual surrounding.

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REC O N C I L I AT I O N Alicia Luddy alicialuddy@hotmail.co.uk INDIVIDUAL PROJECT NIGEL BEDFORD

Brooklyn has an estimate of 10,000 gang members, the highest amount in New York.

The average age of gang members is 17 years old, setting these individuals up for a life on incarceration and unemployment. This centre is designed to create a safe space for these individuals, inviting all members of the community to use its facilities. It is specifically aimed at young children before they have entered gangs, current gang members who may be looking for self improvement, and ex-gang members who may be looking for a new sense of belonging.

TUTOR:

COMMUNITY CENTRE FOR BRO OK LY N’S G A NG S

There are numerous examples of sportsmen who have come from gang affiliated backgrounds and have found their way out through sports. Therefore the building houses two indoor sports spaces, which are stacked up against more cellular spaces that house skills workshops, social spaces and support services.

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TURNING POINT Abbey O’Rawe

INDIVIDUAL PROJECT

abbeyorawe@gmail.com

TUTOR:

NIGEL BEDFORD

COMMUNITY OUTREACH CENTRE FOR HARM REDUC TION & EDUCATION Within the US, addiction is treated as a criminal justice issue rather than a public health concern. This building fuels a larger political goal to put drug addicts in sight of the community, policy makers and governments, acting as a ‘turning point’ in addiction treatment.

The ambition of this project was therefore, not to create a centre with the appearance of a healthcare facility, but a building that forms an integral part of its surroundings and the community. There is a unifying theme throughout the scheme of warmth, comfort, privacy, and connectivity aided by the domestic material choices, defensive form and landscaped courtyards. All of which combine to create a familiar and welcoming atmosphere for users who may be hesitant to access these new facilities.

This includes creating a safe environment where drug users can consume drugs and work incrementally towards beating addiction, through holistic health practices.

Education and social facilities provided for use by both drug users and local residents aim to reduce the stigmas and discomfort linked to drug abuse by providing an area for open discussion.

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Kate Macintosh

David Adjaye

Yasmeen Lari

Francis Kéré

TUTOR:

Lina Bo Bardi

INDIVIDUAL PROJECT

Denise Scott Brown

W E

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S O M E P E O P L E I N A R C H I T E C T U R E T H I N K Y O U S H O U L D K N O W . . .

Amale Andraos

Sandra Barclay

Geoffrey Bawa

Nana Biamah-Ofosu

Tatiana Bilbao

Alison Brooks

TUTOR’S NAMEI

Tadao Ando

Tei Carpenter

Kashef Mahboob Chowdhury Counterspace Liz Diller B.V. Doshi Mary Duggan Frida Escobedo Gabriela Etchegaray Anne Marie Fallon Hassan Fathy Yvonne Farrell

Jeanne Gang

Eileen Gray

Zaha Hadid

Toyo Ito

Jane Jacobs

Kengo Kuma

Anupama Kundoo

Anne Lacaton

Amanda Levete Maya Lin Lesley Lokko Marion Mahony Griffin Dorte Mandrup Shelley McNamara Mary Medd Sadie Morgan Toshiko Mori Farshid Moussavi Hiroshi Nakamura Jo Noero Maki Onishi Neri Oxman I.M. Pei Charlotte Perriand Kazuyo Sejima Neba Sere Marina Tabassum 10

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TUTOR:

SASHA BHAVAN

INDIVIDUAL PROJECT

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INDIVIDUAL PROJECT

TUTOR:

SASHA BHAVAN

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N I S A’A Ifrah Ariff

INDIVIDUAL PROJECT

ifrahariff@gmail.com

A MOSQUE FOR WOMEN

TUTOR:

SASHA BHAVAN

In Queens, the Jackson Heights’ community calls for a ‘Mosque for Women, Mosque for All’, that invites all, but most importantly, women, to seek counsel, learn about Islam, and to stand united in worshipping God. The fact that congregational prayer is mandatory for men but not for women has resulted in several male-only mosques, hindering female participation in the community. To subvert this norm, the Women’s Mosque includes a mixed prayer hall, where women can pray in the same space as men, en masse (albeit in separate rows, as is acceptable by religious scholars), and a generous women-only prayer gallery, where the women can pray away from male presence, but still as a part of the whole.

The programme also includes civic spaces such as a communal refectory, education spaces and a branch of Asiyah Women’s Centre, which provides support and temporary shelter for Muslim women escaping domestic abuse.

Although the mosque hosts different activities, all are united by a Call to Prayer, which obliges them, in their multiplicity, to pray, united, before One God.

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THE PAS S Giles Davis g.dav14@outlook.com INDIVIDUAL PROJECT

A CELEBR ATION OF PRODUCE

SASHA BHAVAN

As a community centric project that aims to drive social change through all the aspects within the culinary sector, the schedule is comprised of a food market, culinary school, and restaurant. To boost local economic growth, an incubator office also provides services to new and start-up companies of East New York.

TUTOR:

‘Meeting the pass’ symbolises validation that the necessary culinary standards have been met. The pass is also the intermediary zone between public and private space: where the shared aspects of the dining and cooking experience coalesce. The East New York Market embodies this relationship, an exposition of the singular entity that links the building’s functions: produce.

The project empowers residents of ENY with the ability to obtain financial security.

The inherent combination of commerce and education in the scheme enhances the connections between all members of the surrounding neighbourhood. This allows the East New York Market to become a forum for its locality and to restore the relationship between the community and healthy, sustainable food practices.

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TRANS-SPORTING RO O S E V E LT I S L A N D Cassandra Lee

INDIVIDUAL PROJECT

cassandraveritylee@gmail.com

TUTOR:

SASHA BHAVAN

TRANS SPORT TO TRANSPORT

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This Sports and Wellness Centre strives to address the lack of specialised scientific research into the effects of Hormone Replacement Therapy on the performance of Trans Athletes. The building’s praxis is centred on running, the basis of many sports. While supporting healthy relationships and mental health via sport and counselling, the project encourages Trans individuals back into sports in spite of the maelstrom of negative media coverage that causes anxiety and withdrawal.

Looking to the future, New York is set to be flooded towards the end of the 2100’s. As an island at risk of disappearing, the scheme was raised by seven metres and above the predicted 1% major flooding possibility.

A ferry service running between Queens, Roosevelt Island and Manhattan creates an opportunity to incorporate a future Ferry Hub into the life span of the scheme.

With a Pier to aid boat docking, ease of construction and material delivery, the landscaping and design welcomes the rising waters by encouraging new habitats and the eastern facade to open up into a ferry dock; its central location on the East river perfectly serving the city.

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CROWN HOSPICE Arthur Masure arthur.masure@gmail.com INDIVIDUAL PROJECT

A FLAGSHIP HOSPICE AND AWARENESS CENTRE FOR CROWN HEIGHTS

SASHA BHAVAN

Set within a 1900’s existing brick brewery complex, the proposal unites the old and the new through its reuse of an existing building and its sensitive implementation of a new building within the site. Materially, the brick street-facing façades give the centre a strong sense of place, whilst the timber interior is warm, comforting, and beneficial to patient, visitor, and staff health.

TUTOR:

Crown Hospice acts as a flagship for a new hospice movement in New York, with the prospect of establishing more like-minded in-patient facilities throughout the city.

The centre encompasses both a 16-bed hospice and awareness centre, aiming to bring quality hospice care into the area.

These create a comforting environment that stimulates spirituality, contemplation and mindfulness, improving understanding and awareness of hospice / palliative care.

Extensive gardens give patients, visitors, staff, and the public a close connection to nature, even from within. Through a focus on human-centric and biophilic design, the hospice building aims to provide a serene, calm environment to best prepare patients and family members for what is to come.

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HOUSE OF JAZZ Violante Piccolomini

INDIVIDUAL PROJECT

violante.piccolomini@hotmail.com

TUTOR:

SASHA BHAVAN

MONUMENT TO HARLEM Breaking from the 20th and 21st centuries’ socially destructive architecture of radical privacy and publicity, Harlem House of Jazz constitutes an unbroken sequence of spaces with gradually increasing intimacy.

Speakers’ Corner, a monument to Black culture and a Harlem focal point, retains its public character and dissolves into the foyer, a node from which all functions unfold. A triple-height arcade pulls users along a central ‘nave’ flanked by exhibition spaces that can be separated to form impromptu performance boxes, revitalising Harlem’s street-scape. Two large circular volumes enclose music halls designed for jazz, between which sit the building’s practice spaces and technical rooms.

Considering jazz as a truth and a means for practitioners to live, express and store individual & collective experience, the proposal references the forms, scale and arrangement of religious architecture. Yet, in a departure from traditional Christian aesthetics, the spaces are left unadorned, leaving brick and light as protagonists. The building gives form, in its pure geometries rhythmically punctured by light, to the immaterial language and heritage of jazz.

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THE BROWNSVILLE CENTRE Will Samuels william@samuelshome.co.uk INDIVIDUAL PROJECT

A RESPONSE TO THE CITY THAT NEEDS SOME SLEEP

2. Community Kitchen - To take in the Brownsville youth and teach them cooking, discipline, hospitality, leadership, and give them a CV for the future 3. Radio Station - Where local residents can book time slots to DJ for the community

SASHA BHAVAN

1. Food Market - When a community spirit is fostered, neighbours help each other alleviate little, every-day stresses (picking kids up from school etc.)

TUTOR:

Brownsville, Brooklyn, is identified as the most stressed neighbourhood in New York by every measure (noise pollution, poverty etc.), and so The Brownsville Centre provides functions that alleviate the root causes of these stresses:

4. Small Business Incubator - Giving the local residents their shot at the American dream of success via hard work & innovation The building recognises play as an antidote to stress. It’s what one does when there’s nothing to be stressed about, and the act itself inspires a child-like sense of joy in its place. Therefore, the building uses play as a lens through which to enjoy its functions.

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DRIVERLESS M A N H AT TA N Jake Taylor

INDIVIDUAL PROJECT

jaketaylor1999@outlook.com

TUTOR:

SASHA BHAVAN

REIMAGINING URBAN MOBILITY IN MANHAT TAN, N YC

This project seeks to solve a fundamental issue in New York City – traffic congestion.

Increased vehicle users has caused average speeds to fall to 7mph, costing the city more than $20 billion annually and accounting for over 25% of its carbon emissions.

The solution is autonomous vehicles – AKA self-driving cars. This scheme outlines an overhaul of the existing NYC taxi network with a fleet of electric AVs, coded into the Manhattan city grid to reduce congestion and eradicate emissions.

To facilitate this network, the proposed building contains charging space for the active fleet, R&D space to accelerate AV technology, office spaces for monitoring the fleet, and a public education zone to inform the local community and schools about this radical change in urban mobility.

The building is separated into two volumes: vehicles and people; each adopting a timber frame to minimise embodied carbon. An external staircase connects the elevated High Line with new public spaces, whilst a renewable solar facade system offsets over £275,000 of the electricity cost each year.

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ALMUS Declan Wain decwain@gmail.com INDIVIDUAL PROJECT

URBAN FARM & RES TAUR A NT FOR HUNT S POINT

SASHA BHAVAN

The scheme aims to reconnect the residents of Hunts Point with fresh food through a restaurant, shop, communityrun allotments and indoor growing spaces; designed to actively involve the community in the production of healthy food that ends up on the residents’ tables.

TUTOR:

The Hunts Point neighbourhood in the Bronx is home to the largest food distribution hub in the world, responsible for supplying the city with much of its fresh produce.

Food is distributed to the restaurants and shops of New York, leaving residents in a ‘food desert’ without access to healthy, fresh, affordable produce. The result is an under-served community impacted by food insecurity and diet related health issues.

The Proposal uses hydroponic vertical farming methods in a controlled internal environment. Three distinct growing zones are established: firstly, a highly regulated growing core using stacked hydroponic trays and artificial lighting, bound by thick hemp-lime walls that regulate temperature and humidity; secondly, a naturally lit semicontrolled growing zone wraps around the core; and finally an external walkway provides space for seasonal growing.

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T I M RO LT

INDIVIDUAL PROJECT

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INDIVIDUAL PROJECT

TUTOR:

T I M RO LT

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CIRCUL AR COMMUNITY Will Allen

INDIVIDUAL PROJECT

will-allen18@hotmail.co.u

TUTOR:

T I M RO LT

T H E WAT E R F R O N T: A R T & REH A BILITATION CENTRE

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Circular Community is about taking the people who feel like they’re a waste, and making them new. Giving them a place to thrive, and then helping them support others who were once where they were. And the cycle continues. Set on the waterfront in Long Island City, a series of ‘diaphragm’ walls work to create a collective of creative functions working together to bring about healthy and happy community.

Rehabilitation Through the Arts run the outward looking facilities, helping build community through the Cafe, Gallery, Theatre, Maker’s Warehouse and arts studios; while Catholic Charities Brooklyn and Queens run a behavioural health centre alongside, helping the vulnerable grow via creative therapies. Members of the LIC community will get the help they need without any stigma attached.

At its heart, the building embodies sustainability through longevity, longevity through adaptability, and adaptability through simplicity.. The building is elevated from the ground to protect against future floods, creating a plethora of accessible walkways & rejuvenating the LIC waterfront.

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IN T ERFA IT H Fatin Alsagoff fatin.alsagoff@gmail.com INDIVIDUAL PROJECT

INTERFAITH DIALOGUE

T I M RO LT

The scheme’s landscaping creates a link from the street to the entrance of the building, with a green strip in between the largely red brick buildings catching the eye and inviting in to explore. The building then follows a determined and solid form through a 12 x 12 metre grid. Spaces are divided into a series of squares that revolve around a central atrium, acting as the heart of the building, linking all spaces to one volume laterally and vertically.

TUTOR:

This project aims to address the lack of communication and inclusivity between the different faiths of New York by establishing an interfaith centre to bring these different communities together. The main intentions of the building are to create a place of worship for all faiths, accessible education for all ages and to start the much needed interfaith dialogue in the world for a more understanding and peaceful community.

The structure celebrates the distinctive use of recycled red brick by featuring the material extensively, both externally and internally. This robust and beautifully textured material is complimented by the warm timber tones found in the structural glulam beams and CLT slabs.

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HEALING IN THE CITY Bonnie Ha

INDIVIDUAL PROJECT

bh607@bath.ac.uk

A N A D OLESCENT MENTA L HE A LT H C EN T RE FO R N YC

TUTOR:

T I M RO LT

Mental health disorders affect at least 10% of the global population, with 20% of children and adolescents suffering with a type of mental illness. Many young people are under much pressure in their early lives and often struggle to find the right support.

The project is driven by the ambition to provide therapeutic spaces for young people and general users to heal.

Understanding the users and their needs was key for the project’s success.

Greenery and nature improves people’s well-being where beautiful external spaces can create a salubrious environment for healing. The mental health centre establishes a connection with nature through it’s two courtyards connected by a central pavilion. The pavilion attempts to intertwine inside and outside spaces creating a sense of ambiguity, allowing the space to feel less enclosed.

Alongside the therapy & patient services, the building’s research quarter strives to find solutions to treat mental illness.

A close proximity allows for appropriate communication between staff and patients, in hope of successful developments.

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MOTION Varvara Kot varvarakot3@gmail.com INDIVIDUAL PROJECT

CO-WORKING HUB

T I M RO LT

The site is situated on an existing commercial corridor, bringing a new subset of customers to the local businesses.

Wider project aims included social and environmental sustainability; an open and adaptable plan would allow the building to be used by the local community, while its use of almost exclusively timber components in construction will set a positive precedent for future building development.

TUTOR:

This project represents one of the coworking hubs proposed to be introduced within the city. It provides both an alternative remote working space on Staten Island and a sustainable mode of public transport, should commute into the business centre be required. The proposal incorporates a tram platform, a cycling hub and a wide selection of rentable office spaces, all under one roof.

Finally, its form aims to respond to the site’s complex layout and unique conditions across the site. Carefully planned spaces on the ground are united under one origamifolded roof; the simple triangular geometry of the roof and ceiling allow the mass of the building to dip and rise where while maintaining a sense of connectivity inside.

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CONNECTION James Lifely

INDIVIDUAL PROJECT

Jameslifely@gmail.com

YO U T H HE A LT H C EN T RE

T I M RO LT

The built environment shapes our lives and the choices we subconsciously make, affecting our moods and emotions. We must listen and inspire a change in the way we live through authentic, socially minded and welcoming design.

TUTOR:

The average American spends 5.4 hours a day on their phone, 82 days a year.

Technology re-defines what it means to be connected. The young are the canary in the cave, verging on a mental health epidemic.

A Youth Centre which focuses on educating young people on the importance of physical and mental health in an engaging way that it is not institutional or intimidating.

The building’s positive values must resonate with the community in spatial form, function and materiality; encouraging connection, good health, well-being and a mindfulness for our environment.

The site in Kingsbridge, The Bronx, is connected to the existing Recreation Centre via a re-development of St James’ Park. The scheme is walking distance from many education facilities; within reach of a deserving but under-served community.

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T HE U RB A N FA RM Stephen McDougall stephen.mcdougall14@gmail.com INDIVIDUAL PROJECT

PRODUC TION, EDUCATION & CELEBR ATION

T I M RO LT

This building is placed within a city where the availability of fresh food is extremely short and space to grow food traditionally is sparse. It was therefore a necessity to find a solution to how such a populous city, that enjoys food as much as New York, would be able to sustain itself should it’s main source of food be cut off, due to the threat of climate change and rising sea levels.

TUTOR:

The Urban Farm seeks to address the disconnect between people and the food they eat, by providing areas for sustainable food production using traditional and modern agricultural technologies, for education on how different foods are produced & prepared, and to celebrate the cultural diversity of New York, encompassed in one sustainable food centre.

The building is both joyous and extremely functional, and as a result of this employs a wide palette of materials, each working to the best of their abilities, combined to form one cohesive design. It stands out from its neighbouring context, fitting for a building that acts as a landmark for the city, a symbol for sustainable food practice.

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THE THRESHOLD OF ETERNAL LIFE Rachel Moberly

INDIVIDUAL PROJECT

rachel.moberly@outlook.com

TUTOR:

T I M RO LT

BENEDICTINE MONASTERY + PA LLI AT I V E CA RE RE T RE AT In the shadow of Covid-19, we are having to face death in a blinding, unavoidable way.

Whether it is our own health or that of a loved one, we have been called to question and consider what death is and, most of the time, how terrified we are of it. Bronx Abbey enables its visitors to make peace, find hope and allow comfort in death, as they spend time with the monks who reside there.

The architecture is rooted in rich Benedictine tradition, adapting ancient principles for the contemporary urban context. The entire building is timber as a response to the arson of the 1970s which tore through the area, including burning the three buildings previously on the site.

Only pure timber (with no adhesives) is used throughout the building, making it nontoxic and enabling its repair over time to be a visible witness of stability for the monks.

The scheme developed from the premise that death is the threshold between life and the life to come, placing the deep crypt in between the monastery and the church.

The Threshold of Eternal Life is the ultimate symbol of resurrection.

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CONVENIO Alex Wells wellsalex98@hotmail.co.uk INDIVIDUAL PROJECT

DWELLING, WORSHIP + STUDY ‘convenio’ latin verb: 1. convene, assemble, meet together

Derivative of the term convent,

in reference to the gathering of mendicants.

T I M RO LT

In monastic architectural traditions the cloister is a recurring feature which provides a peaceful transition space between daily rituals. The human-scale tectonic detailing of the cloisters has been carefully considered to explore how the residents will interact with the landscape.

TUTOR:

Situated in Rosebank, Staten Island, the convent provides a new spiritual hub for the Daughters of St Paul.

Mono-pitched roofs direct sunlight into the cloisters and formulate a minimalist geometry. The strong street presence guards a serene arrangement of gardens and places of contemplation. An external materiality of rubble stone and charred timber represents the internal transition of privacy as the ground floor encourages public engagement whilst the first floor contains private nuns’ accommodation.

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THE BRIDGE-SHELL Ollie Wickens

INDIVIDUAL PROJECT

ollie.wickens98@gmail.com

HEALING THE SCAR

TUTOR:

T I M RO LT

The new Jacob A. Riis Youth Centre provides young people from Queensbridge, NY the tools that they need to redefine what it means to grow up in ‘The Projects’ by breaking down the walls that currently hem them in.

Located under the vast Queensboro Bridge, on the Southern edge of the housing project, the scheme seeks to reinterpret the boundary between social housing and bordering communities. In Queensbridge, a wave of gentrification in the surrounding area threatens to leave the housing project isolated in it’s own neighbourhood. In the absence of any intervention, the livelihoods of the current youth and future generations will be damaged beyond repair.

All internal spaces are united under the innovative, sweeping, timber gridshell roof which rediscovers the bridge structure above in an organic, exciting way. A sports hall and training kitchen provide access to a healthier lifestyle; classrooms, workshop and studio space offer the resources the youth lack in school; and a private counselling centre helps their voices to be heard. Everyone deserves an equal start in life, regardless of where they grow up.

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TUTOR:

TOBY JEFFERIES

INDIVIDUAL PROJECT

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TUTOR:

TOBY JEFFERIES

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DÉVOILER Rebekah Ball

INDIVIDUAL PROJECT

ballbekah@gmail.com

TUTOR:

TOBY JEFFERIES

SHINING A LIGHT ON UNDISC OV ERED TA LENT The proposal aims to tackle systemic issues surrounding diversity in ballet through the creation of a dance school in Brooklyn for the American Ballet Theatre. Located in the BAM Cultural District, the site is close to existing transport hubs, connecting the school to diverse neighbourhoods in Brooklyn and Queens.

Spaces are organised around a central spine of circulation with public areas at the base. At first floor level the piano nobile of the school contains a performance studio and dancers’ hub, with teaching studios stacking upwards in a tower and placing dancers against the backdrop of New York.

Movement is celebrated in the scheme with internal circulation flowing around the plan on lower levels. An external staircase sits behind a veil of mesh on the west side which is visually impenetrable during the day. At night, light filters through the façade making a performance out of the circulation and creating a cultural beacon within the urban context.

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HEARTH Celine Cheung celine_cheung@outlook.com

TOBY JEFFERIES

Located in the Battery Park, Manhattan, NYC, the scheme works in conjunction with the city’s flood resilient strategy. The raised Berm creates a line of water defense while shaping the site’s landscape and enriching biodiversity.

TUTOR:

With the goal of normalising death, the project aims to remedy the exclusivity, spatial scarcity, emotional insensitivity and the lack of personalisation of existing crematoriums and surrounding rituals.

The proposed crematorium provides the space and facilities to create pottery with cremains. The artwork can then be chosen to be displayed in a gallery which also acts as a columbarium, or brought home.

INDIVIDUAL PROJECT

A N A LT ERN AT I V E CREMATORIUM- G ALLERY FOR THE DEAD AND THE LIVING

Hearth manifests a clear one-way choreographed procession linking previously ambiguous ceremonies across the Battery memorial park, through ‘The Waiting Hall’, ‘The Ceremony Hall’, ‘The Chamber’ and ‘The Gallery’. Balancing between providing spiritual, contemplative yet comfortable and sensitive spaces through materiality and the integration and controlled interaction of greenery, the building draws on the recuperative effects of intermediary gardens.

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FÁ B RICA Chew Shan Wei

INDIVIDUAL PROJECT

chewshanwei@gmail.com

TUTOR:

TOBY JEFFERIES

A HATCHERY FOR SUS TA IN A BLE SOLU TIONS This is an incubator hub and advanced manufacturing centre where solutions for sustainable development are created. The 11,000m2 scheme hosts a critical mass of tools, interactions, hotel accommodation and sheer open space for the making of virtually anything.

The design revolves around being able to programmatically and structurally accommodate any activity, now and into the future - it is a perpetual work in progress, always evolving to meet its occupants’ needs. Its components are malleable, raw and seek to conceal nothing.

Creators should feel like they contribute fundamentally to the spirit of the building by leaving unfinished prototypes on the floor, building their own mezzanines, accidentally chipping a partition, or sleeping in the office.

The tectonic expression draws on a palette of austere, monochromatic materials that evoke the possibilities of human industry.

Unapologetic references are made to the building’s role as a factory - continuing the long tradition of bustling industrial activity on the Brooklyn waterfront, and steadily churning out solutions that help the world.

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EARTH TO EARTHLING Sophie Judson sophie.judson@yahoo.co.uk INDIVIDUAL PROJECT

FORUM FOR THE EARTH INSTITUTE

TOBY JEFFERIES

Located at their Manhattan campus, the building comprises formal and informal learning spaces. Designed for both public and departmental use, the multifunctional spaces include social amenities, classrooms, mid-sized seminar rooms and a larger forum hall.

TUTOR:

Whilst environmental discussions are happening in institutions, the exchanging of ideas is limited to within their walls. A de-institutionalized forum for Columbia University’s Earth Institute is designed, to push their agenda further into the new generation and the public.

Complementing an architectural intent to through the cores, anchor the building to the ground, a ground source energy loop passively heats and cools the building.

Operating as a block-wide power source, the project further works at this scale through the regeneration of lost back-ofblock brownfield land. As a passive urban strategy, the Earth Institute’s social and environmental agenda trickles into the community.

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RIVERDALE R AILWAY S TAT I O N Han Kong

TUTOR:

TOBY JEFFERIES

INDIVIDUAL PROJECT

hankongms@gmail.com

THE CITY IN MOTION This project reimagined the possibilities of a commonly used transportation infrastructure. The design interrogates our relationship with mankind and the surrounding wider context of nature.

The aim of this design was trying to create a place that reflects the identity of the local area through this daily used facility.

The passenger rewrites their memories of Riverdale over and over, repeatedly.

Every day is the same, but different.

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Consume

Recycling

Waste to Value

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Co-living

Making

CIRCUL AR ECONOMY HUB Kevin Poon kevinpoon113@gmail.com INDIVIDUAL PROJECT

ZERO WASTE TO L ANDFILL BY 2030

TOBY JEFFERIES

The architecture celebrates the idea of a vertical, mixed-use community with personalised identity. It is designed as a flexible framework, in which space usage can be changed during the building life cycle to meet the future needs of the community. The building has the flexibility to transform at the behest of its users, hence creating an anti-formal urban collage within a formal framework by its occupants.

The proposal intends to be a prototype of how circular economy can shape living, working and environments. The detailing moves away from traditional connections to facilitate disassembly to ensure all materials can suitably be re-used at the end of their design life cycle.

TUTOR:

The project is a vision for a sustainable community to eliminate waste to landfill by 2030 as part of the OneNYC Master plan - a catalyst for revitalising the Bronx from an underused industrial district into a green industrial belt. As waste generation is a design flaw in our buildings and cities, the architecture operates on a closed-loop system in which resources are circulated, retained, reused and recycled within the building to minimise systematic leakages.

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WILD NYC Annabel Taylor

INDIVIDUAL PROJECT

annabeljtaylor@outlook.com

TUTOR:

TOBY JEFFERIES

RECONNECTING NYC TO NAT URE The rediscovery of nature on our doorstep: the scheme aims to reconnect the people of New York City to the nature living alongside them by creating a space in an urban area that promotes the harmonious cohabitation between people and wildlife.

During the coronavirus pandemic, it was that lack of interaction with nature which raised the awareness of the importance greenspace and nature have on mental wellbeing. The scheme addresses this with the creation of landscaped and internal spaces encouraging the education of wildlife to residents through art classes, pop-up exhibitions and wellbeing activities such as yoga.

The building is situated along the north, west and east boundary of the site, where the building acts as a buffer to the noise of the re-landscaped Pearl Street. The south boundary is left open for access into the park as well as making the most of the southern aspect for planting and public space. The landscaped spaces within the scheme highlight the importance of ‘rewilding’ to help support nature in this current global biodiversity emergency.

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H O L I S T I C H E A LT H Jasmine Annie Turner turnerjasmineannie@gmail.com INDIVIDUAL PROJECT

BRINGING BALANCE TO THE PARK AND TO THE PEOPLE

TOBY JEFFERIES

The design intentionally brings in natural elements throughout to make medical spaces more relaxed and less institiutional.

This helps make the building more accessbile to the public, who may not have visited health facilities in years due to the lack of publicly-funded options. The ground floor is opened up to become more permeable and transparent, and exercise and clinical facilities are combined into one typology in order to achieve a more approachable building, as it becomes the gateway to the park.

TUTOR:

The aim of this project is to bring balance to Soundview park in the Bronx borough of New York City, through the integration of physical health and mental wellbeing measures into the park. The proposed building is to act like glue in the centre of these two elements, providing preventative care measures to general health, by hosting fitness, nutrition, and GP services to tackle the root of illness in NYC. The balance of health between the body and mind are important in both the design of the building and the masterplanning of the new park strategy.

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TUTOR:

VANESSA WARNES

INDIVIDUAL PROJECT

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INDIVIDUAL PROJECT

TUTOR:

VANESSA WARNES

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S TO N E WA L L T H E AT RE Christopher Gough

INDIVIDUAL PROJECT

christophergough.304@gmail.com

TUTOR:

VANESSA WARNES

ERODING LGBTQ+ BARRIERS

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Stonewall Theatre is located in Midtown Manhattan, NYC on the corner of Broadway and West 28th Street. The theatre acts as a landmark for the LGBTQ+ community by providing a place to perform, learn, support, and socialise. Being on Broadway is relevant to the New York theatre cultural context and the site also has sight lines of 5th Avenue, location of the annual Pride March. To be successful, the building had achieve being a welcoming, inclusive, and comfortable environment for all people.

The overarching diagram for the building is based on the history of the outcroppings created when the Manhattan grid was carved. As these were expensive to remove, framed structures were built on top of and around the outcroppings. In response, a large concrete volume forms the theatre with cores on the perimeter of the site, and a glulam frame spanning the space in between. The concrete is board formed as a response to the strata of the rock, and the varied faceted bronze façade resembles the irregular elevation of an outcropping.

The site is adjacent to the subway line, for which the building provides a new entrance.

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REG EN ER AT I O N Megan Holden megtedders@aol.com INDIVIDUAL PROJECT

CENTRAL HARLEM ELEMENTA RY SCHO OL FOR A LT ERN AT I V E ED U C AT IO N

Working alongside the community education council district 5 and Harlem Children’s Zone, the school strives to build relationships with the local community, nature and our ecosystem. This is achieved through using a double courtyard typology and a variety of landscape zones. Each zone has its own function and aims to increase bio-diversity in its own way - this concept spreads throughout the school all the way to the roof. The centralised library space acts as a link between the education block and the community block. The butterfly roof creates an interesting entrance whilst also providing environmental advantages.

VANESSA WARNES

“Education for regenerative cultures is about the life-long process of enabling and building the capacity of everyone to express their unique potential to serve their community and the plant and in the process serve themselves.” - Daniel Wahl

TUTOR:

Regeneration is an elementary school that is designed to implement regenerative education principles whilst providing a safe, secure and equal learning environment for children in a deprived neighbourhood, like Central Harlem.

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RHAPSODY Zalifah (Zali) Kelly

INDIVIDUAL PROJECT

zalifah.kelly@gmail.com

TUTOR:

VANESSA WARNES

B RON X M U S I C HE RI TA G E CENTRE, A MUSIC CENTRE F OR A L L C ULT URE S All Cultures have music. Music is a way to express what cannot be said in words. The Bronx Music Heritage Center (BMHC) is looking to expand in the Bronx to cater to all forms of music. They aim to provide adaptable Halls to suit music from a variety of genres.

Music is abstract and as such, it is expressed in the concrete abstract pieces that are extruded from a timber rhythmic base.

The Eidus Hall, named after Bronx Violinist Arnold Eidus, has a hexagon form to make music at its center. The audiences wrap around the performer creating never before seen views.

The Campbell Hall, named after the Bronx DJ Clive Campbell, allows users to arrange the stage however they want. You can even even view the performance from the balcony or from the 1st floor.

The Courtyard is wrapped in a Rhythmic facade having a relaxing water feature with another performance space. So why not grab a coffee and listen to music from all over the world!

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OEUVRE Charlotte Man charlottecmhl@gmail.com INDIVIDUAL PROJECT

THE PRECISIONIST GALLERY

VANESSA WARNES

Precisionism concentrates on depicting the theme of industrialisation, portraying a strong connection to America and the beauty of the industrial age. The design of the gallery is largely influenced by Precisionism, featuring strong geometric shapes and an emphasis on lighting design.

TUTOR:

The iconic artist enclave - SoHo, Manhattan, was developed from the decline of the industrial sector. The SoHo community voiced the urgent priorities to preserve and protect the heritage of the district. The scheme addresses this issue by creating an artistic, innovative, and educational platform that features a curation of Precisionist Art and supports the works of local artists.

The Precisionist Gallery is designed to be experienced as a journey - the visitor will circulate around the central atrium and arrive at the top floor. The experience continues as a sequence of interlocking gallery spaces which ends at the enclosed garden. This journey aspires to reconnect the public with the industrial heritage through viewing and experiencing art.

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THE GREENHOUSE Louise Pannell

INDIVIDUAL PROJECT

louise.a.pannell@gmail.com

TUTOR:

VANESSA WARNES

FOOD FOR THOUGHT Throughout history, food has been an important part of community life. However, as the number of people dwelling in cities increases, we become detached from our food.

The aim of this project is to bring the community of Bushwick together through the means of food and the stages that occur before the final consumption- from the planting of a seed; through to the cooking of a meal and then finally sharing it around the table.

Alongside the social aspects of food, theres also the health aspects. Bushwick is considered a ‘food desert’, with many within the community struggling to access healthy food, thus there are high incidences of diabetes and obesity in the area. This project hopes to tackle this, by bringing locally produced food into the area while also teaching people how to do this for themselves.

Along with the positive human impact, the locally sourced produce will help to reduce the environmental impact by reducing the energy that is usually needed to transport food to the final consumer.

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N AT I V E A M ERI C A N MUSEUM AND OREN LYO N S C E N T RE Amy Thompson amy.tho@outlook.com INDIVIDUAL PROJECT

OVERCOMING ANCESTRAL TRAUMA

VANESSA WARNES

Rising up from the painful past rooted in the landscape, the proposal forms a journey through the Native American history of New York towards a brighter future. Manifesting as the movement along the Axis of Hope from the exhibition, through the Garden of Reflection, towards the Oren Lyons Centre tower, the journey provides the spaces to begin repairing the ancestral trauma caused by years of oppression and assimilation.

TUTOR:

Located on the landing site of Europeans that led to the forced migration and genocide of Native People, the proposal aims to welcome the Lenape back to ancestral land; reconnecting them with the stories and culture ingrained in the place.

Shrouded in a woven brass veil, the tower creates a beacon for Native People in the concrete jungle of New York. Equipped with spaces for spiritual and cultural ceremonies, Pow Wows, discussions and support, the centre will remove stereotypes associated with Native American culture, grow from the historical trauma and help strengthen the governance and culture of Native People.

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B RO O K LY N WO O D S Emily Walker

TUTOR:

VANESSA WARNES

INDIVIDUAL PROJECT

elw498@gmail.com

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FURNITURE WORKSHOP + TRAINING CENTRE Brooklyn Woods run a woodwork training programme, furniture workshop and outlet, creating a hub for their graduates to create an income. This project will relocate and expand their initiative - housing the entire process of working with timber, from sawmill to selling, in one locality.

The project aligns with many of the UN sustainability goals: creating quality work, education and regenerating the Gowanus Canal. The proposal stands as precedent for the local area, increasing biodiversity, flood resilience and public access.

The processing of timber defines different conditions of space, a key driver in the scheme’s tectonic language. The layering of materials progresses from the open, hit and miss Douglas fir cladding of the sawmill through to the shop which is fully enclosed.

The conditioned spaces are raised on a concrete plinth to mitigate flood risk. This massive concrete base is used for passive heat exchange to reduce the operational energy of the building, alongside an onsite biomass boiler fuelled by the waste timber produced. Brooklyn Woods aims to promote a sustainable industry and circular economy, reconnecting the local community with the origins of their products and helping local economies thrive.

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BROWNSVILLE YOUTH Joshua Yeung joshuaymt@gmail.com INDIVIDUAL PROJECT TUTOR: VANESSA WARNES

A COMMUNITY HUB FOR THE YOUTH AND OBESIT Y The design aim was to create a positive place in which the youth feel warm and secure, wanting to spend time in it. The building is divided into three sections: the internal spaces, the winter garden and the roof garden. The areas provide various experiences for the user throughout the year. Double height spaces are easily found in the building, connecting the facilities vertically. The roof garden is used to promote awareness of a healthy diet and prevent obesity in the community.

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Anne Claxton Jonny Logsdon

Jayne Barlow

Daniel Wong

Cat Martin

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NAME

183

T YPOLOGY

GIA

L O C AT I ON

CONSTRUCTION

43 Matthew Au Yeung

River Research & Education Centre

3300

Manhattan

Stabilised Earth + Timber

44 Lauren Dennis

Textile Art Centre

3600

Brooklyn

Masonry + CLT

45 Angel Li

Sustainable Garment Production and Learning Centre

3500

Manhattan

Glulam + Steel Frame

46 Yoya Muraki

Community Centre + Park

5218

Staten Island

Glulam + CLT + Concrete

47 Ryan Stranger

Educational Building, Reuse

2800

Manhattanville

Steel Frame

48 Amy Young

Post Office, Polling Station and Market Place

5000

Manhattanville

Pre-cast Concrete + Brownstone

51 Sarthak Saarthi Bansal

Planetarium and Space Studies Centre

4000

Bronx

Concrete + Steel

52 Lesley Cheung

Recycled Papermill and Printmaking studios

2200

Brooklyn

Masonry + Concrete + Glulam

53 Amy Hickery

Herbarium and Biodiversity Education Centre

2000

Long Island City

Masonry + CLT/Glulam

54 Alice Lindquist

Lyme Disease Clinic

3300

Staten Island

CLT + Glulam

55 Chi Nguyen

Language Support Community Centre

1450

Bronx

CLT + Glulam

56 Oliver Porteous-Williams

Youth Mental Health Centre

3500

Brooklyn

Masonry + Glulam

57 Jessica Sung

Cooking School and Food Hall

2100

Chinatown, Manhattan

CLT + Glulam

58 Millie Thompson

Culinary School for Ex-offenders

2300

Bronx

Masonry + CLT/Glulam

61 Samuel Chua

Community Centre for Well-being

2287

Bronx

Concrete + Glulam Frame

62 Shreyaa Dada

Multi-Cultural Centre

3000

East Harlem, Manhattan

Concrete + Glulam + CLT

63 Harriet Dyke

High School

2755

Bronx

Glulam

64 Mia Gaines

Bouldering and Yoga centre

2100

Crotona Park, Bronx

Masonry + GluBam

65 Sue Vern Lai

Community wellbeing centre

1500

Brownsville, Brooklyn

Concrete + Timber/Glulam

66 Thibault Quinn

Day Centre for the Homeless

1900

Brooklyn

Glulam + CLT

67 Desmond Tang

Chinese-American Cultural Community Centre

3500

Chinatown, Manhattan

Concrete-steel Composite

68 Ellie Thomas

Community centre for the homeless

2250

Bronx

Glulam + CLT

69 Eve Wheller

S.T.E.M elementary and middle school

2200

Astoria, Queens

Concrete + Glulam/CLT

73 Sophie Atkinson

Light Manufacturing Timber Workshop

2150

Bronx

Glulam + CLT

74 Chong Sue Yen

Light Industrial Manufacturing + Gallery + Nursery

4500

Brooklyn

Steel + Concrete

75 Bryony Johnson

Seasonal Shop, Restaurant and Cookery School

1800

Bushwick, Brooklyn

Steel + Glulam

76 Anadya Kukreja

Design Research Institute

4760

Bedford-Stuyvesant, Brooklyn

Steel

77 Xinyi Li

Eye Clinic + Gallery

2500

Manhattan

Concrete + Glulam

78 Winnie Ng

Textile Academy & Recycling Facility

12300

Sunset Park, Brooklyn

Steel Frame

79 Lily O'Brien

Street art gallery

4681

Long Island City, Queens

Pre-cast Concrete Frame

80 Vincent Tam

Loneliness Clinic + Animal Shelter

7000

Forest Park, Queens

Glulam Frame

83 Aisha Al-Obaidi

Urban Farm

2800

Brooklyn

CLT Core + Steel Frame Hybrid

84 Hannah Brookes

Centre for Movement and Dance

3100

The Bronx

Concrete + CLT + Glulam

85 Phoebe Charnley

Boat Building and Sailing centre

2800

Lower East Manhattan

Concrete + Timber + Steel

86 Caleb Lee

Interfaith Community Centre

6600

Flushing, Queens

Steel + Glulam Frame + CLT

87 Aristides Mettas

Performance Centre + Theatre Workshop

6000

Brooklyn

Steel Frame

88 Chrysostomos Neocleous

Brooklyn Innovation Centre

11200

Downtown Brooklyn

Concrete + Steel Frame

89 Shreya Sarin

Waste Upcycling Centre

5000

Upper East Side, Manhattan

Concrete + CLT + Glulam

Julia Kashdan-Brown Mark Watkins Matthew Harrison Mick Brundle Nigel Bedford

T YPOLOGY

GIA

L O C AT I ON

CONSTRUCTION

90 Alexander Ryan Wu

Urban Farm

10000

East Harlem

Glulam + CLT + Steel

93 Jason Chan

Early Years Education & After School Centre

2360

The Bronx

Glulam Frame + CLT

94 Tom Ellis

Workshop Education Centre

2800

The Bronx

Timber + Rammed Concrete

95 Martha Eustace

Zero-Waste Community Education Centre

2750

South Bronx

Masonry + GluBam

96 Shutong Fan

Urban Farm

4940

Brooklyn

Glulam Frame + Waffle Roof

97 Galina Lyubimova

Artist collective

3000

East Harlem, Manhattan

Concrete Frame

98 Jing Hui Tay

Dementia Intergenerational Day Care

2390

Crown Heights, Brooklyn

Glulam Frame + CLT

99 Charlotte Ward

Biophilic Sanctuary for Entrepreneurial Women

2360

West Farms, The Bronx

Rammed Earth + Timber Frame

100 Kathy Yan

Community Centre + skills education

2200

Queens

Rammed Earth + Timber Frame

103 Dina Abu Shamat

Rehabilitation Centre for Incarcerated Women

4000

Park Slope, Brooklyn

Concrete Frame

104 Lydia Edwards

Dance Studio + Theatre

4750

Mill Pond Park, South Bronx

Steel + Concrete Composite

105 Gabriel Fox

Community centre for philosophy + meditation

2400

Morningside Park, Manhattan

Glulam Frame + CLT

106 Peter Holmes

Centre for the blind

3086

Mott Haven, Bronx

Concrete Frame + Brick Facade

107 Pierre Jerdak

Community centre for debate

4700

Park Slope, Brooklyn

Brick + Glulam Frame + CLT

108 Pontus Lee

Music + Community Centre

2600

Mott Haven, Bronx

Concrete Frame + Steel Frame

109 Hania Salem

Rehabilitative Jail Template

2554

Boerum Hill, Brooklyn

Steel Frame

113 Crystal Cheung

Flood Education & Training Centre

5510

Sunset Park, Brooklyn

Steel Frame

114 Kitiya Chiempitayanuvat

Community Theatre for the Asian American Community

3900

Elmhurst, Queens

Masonry Blocks + Glulam

115 Fannia Chung

Wellbeing & Activities Centre

3600

Garment District, Manhattan

CLT

116 Ryan Hillier

Biomanufacturing & environmental education centre

3500

Red Hook, Brooklyn

Glulam + CLT

117 Stathis Laouris

Sustainable plastic recycling factory

2200

Sunset park, Brooklyn

CLT

118 Tsian Lee Wen

Rehabilitation & Community Arts/Skills Centre

3370

Broadway Triangle, Brooklyn

Glulam + CLT

119 Meg Marumoto

Bathhouse for construction workers

3500

Central Manhattan

Concrete Vaults

120 Jessica Sin

Urban Farm and innovation hub

6000

Bushwick, Brooklyn

Glulam + CLT

123 Adam Broadbent

Sports Centre

2800

East Elmhurst, Queens

LVL + SIP Panels

124 Benedict Chapman

Climbing Centre

5600

Bushwick, Brooklyn

Sablized Rammed Earth + LVL

125 Alisa Dozorceva

Middle School

8600

Williamsburg, Brooklyn

Steel + Glulam + CLT

126 Lok Lam Ma

Community Performing Arts Centre

2650

City Line, Brooklyn

Steel + CLT Concrete Composite

127 Piers Riordan

Cultural centre

3000

Canarsie, Brooklyn

Brickwork + Timber Frame

128 Haoxuan Tan

Multi-Faith Cultural Centre

4500

Gowanus, Broolyn

Concrete + Timber

129 Robyn Wilkinson

Botanic Centre for Study and Wellness

1040

Bristol, UK

Glulam + CLT

130 Hans Ye

Tofu Factory and Wetland Visitor Centre

2700

Freshkill Park, Staten Island

Glulam + CLT

133 Carol Almokatash

Wellness Centre for Physical, Social and Mental Health

2460

Morrisania, The Bonx

Concrete + Glulam/CLT

134 Jack Collins

A Mental Health Education and Treatment Facility

3000

Mt Hope, The Bronx

Concrete Frame + Masonry+Steel

Craft centre for juvenile detention

5000

Mott Haven, The Bronx

Brick + Glulam Portal Frame + Steel Structure

Centre for the Written and Performing Arts

3100

Harlem, Manhattan

Concrete + Glulam/CLT

135

Apolline de Meeûs d'Argenteuil

136 Warren D'Souza

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NAME

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Nigel Bedford Vanessa Warnes

Toby Jefferies

Tim Rolt

Sasha Bhavan

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NAME

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T YPOLOGY

GIA

L O C AT I ON

CONSTRUCTION

137 Muskan Kheria

Youth centre + park

3200

East Harlem, Manhattan

Concrete + Glulam/CLT

138 Alicia Luddy

Community Centre for Gangs

6000

Brooklyn

Steel Frame

139 Abbey O'Rawe

Outreach Centre for Harm Reduction & Education

2500

Hunts Point, Bronx

Masonry + Timber frame

143 Ifrah Ariff

Mosque for Women

2900

Queens

Tile Vaults + Masonry Columns

144 Giles Davis

Food Market/Culinary Centre

2600

East New York, Brooklyn

Glulam + CLT

145 Cassandra Lee

Sports and Mental wellness centre

3500

Roosevelt Island, Manhattan

Steel Portal Frame

146 Arthur Masure

Hospice & Awareness Centre

3100

Crown Heights, Brooklyn

Masonry + CLT

147 Violante Piccolomini

House of Jazz

4264

Central Harlem

Masonry

148 Will Samuels

Food & Business Community Centre

3532

Brownsville, Brooklyn

Glulam + CLT

149 Jake Taylor

Autonomous Vehicle Hub & Research Facility

14000

Hudson Yards, Manhattan

Glulam + CLT

150 Declan Wain

Urban Farm & Restaurant

3800

Hunts Point, The Bronx

Glulam + CLT

153 Will Allen

Creative Arts Therapy & Community Centre

2000

Long Island City, Queens

Masonry + Glulam Frame

154 Fatin Alsagoff

Interfaith Centre

3000

Crown Heights, Brooklyn

Recycled Masonry + Glulam + CLT

155 Bonnie Ha

Adolescent Mental Health Centre

2600

Roosevelt Island, Manhattan

Glulam + CLT

156 Varvara Kot

Enterprise/Transport Hub

2500

Elm Park, Staten Island

Mass Timber

157 James Lifely

Youth Health Centre

2100

Kingsbridge, The Bronx

Masonry + Timber Frame

158 Stephen McDougall

Sustainable Food Centre

5900

Bushwick, Brooklyn

Masonry + Glulam

159 Rachel Moberly

Benedictine monastery with palliative care retreat

1960

Claremont, The Bronx

Traditional Timber Frame

160 Alex Wells

Convent

1800

Rosebank, Staten Island

Stone Masonry + Timber Frame

161 Ollie Wickens

Youth Centre

3100

Queensbridge, Queens

Timber Gridshell + Masonry

165 Rebekah Ball

Ballet School

4700

Fort Greene, Brooklyn

Pre-cast + In-situ Concrete

166 Celine Cheung

Crematorium-Gallery

2200

The Battery, Manhattan

Rammed Earth + Timber

167 Chew Shan Wei

Industrial incubation centre

11000

Red Hook, Brooklyn

Steel Frame

168 Sophie Judson

Earth Forum

5600

Manhattan

Glulam + Concrete

169 Han Kong

Railway Station

2000

Bronx

Steel Frame

170 Kevin Poon

Mixed-use Circular Economy Hub

7500

Bronx

Steel + Concrete Frame

171 Annabel Taylor

Biodiversity Education Centre

3000

Seaport District, Manhattan

Glulam & CLT

172 Jasmine Turner

Holistic Health Centre

3970

Bronx

CLT

175 Christopher Gough

LGBTQ+ Theatre and Support Centre

6000

Manhattan

Concrete + Glulam Frame

176 Megan Holden

Elementary School

2080

Manhattan

CLT

177 Zalifah Kelly

Music Performance/education building

3200

Bronx

Concrete + Glulam + CLT

178 Charlotte Man

Precisionist Gallery

4620

SoHo, Manhattan

Steel Frame

179 Louise Pannell

Urban Farm with Market and Cookery School

2800

Bushwick, Brooklyn

Steel + Glulam Frame

180 Amy Thompson

Native American Museum and Cultural Centre

4061

Battery Park, Manhattan

Timber Frame

181 Emily Walker

Wood Workshop and Training Centre

1800

Gowanus, Brooklyn

Timber Frame

182 Joshua Yeung

Youth Centre

2500

Brownsville, Brooklyn

Glulam + CLT

MARCH ARCHITECTURE | YE AR 5

YEAR 5

S T U D I O C O O RD I N ATO R: TO BY L E W I S

CRAFT & MAKING The brief for the main project this year is for Making Space (a space for making things) in Bath together with its adjacent public landscape. Each student was asked to choose a technology or craft and to develop a brief for their project around that. Their choices include woodblock printing, brewing, boatbuilding, recycling plastic or fabric, pottery, water treatment, percussion studio, skateboard factory and shelter for the homeless, growing mycelium bricks, making tea, soap or gin, dyeing, weaving, growing herbs with a lunar observatory, ironwork and recycled tile making (amongst others). In addition, each tutor group was asked to allocate themselves adjacent plots in the Bath Quays development zone in the city centre fronting onto the river Avon and to draw up a detailed group landscape masterplan for this quarter of the city.

Images credits (from top): Rachel Foreman, Lara Miller, Sam Mclellan, Nathalie Hurlstone, Charlie Clayton

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OBSERVING & EXPERIMENTING The aims of the studio have been: To encourage each student to explore and develop their own design processes through a series of exercises.

2.

To develop designs that address a range of scales from urban design and landscape to detail and material.

Students have also been encouraged to design with models and to present their ideas through sketches or unfinished work.

These combined have required the students to work very quickly and productively, to change gear from what some of them have been used to, to ‘jump in and splash around’ as Dennis Lasdun put it. Students have managed to achieve exemplary responses to these briefs despite being locked down for nearly all the semester, with consequently curtailed access to studio, workshops, and each other. They completed their coursework on time and to a standard comparable with previous years’ work; so well done to them.

S T U D I O C O O RD I N ATO R: TO BY L E W I S

1.

Image credits (from top): Will Rook, Nathalie Hurlstone, Caspian Watt, Gregory Wotton, Group Masterplan (Nathalie, Lara, Ru Quan, Rachel, Ben, Sasha, Alec, Georgie)

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MARCH ARCHITECTURE | YE AR 6

YEAR 6 SUS TA IN A BLE CITIES

During the first part of the final year of the MArch programme students carry out urban design projects in groups, based in a town or city of their choice.

Due to travel restrictions resulting from the Covid pandemic, this year the majority of students chose to study urban areas within the UK. In 2020-21 the cities studied were: Blackpool, Dover, Dundee, Gdansk, Plymouth, Thessaloniki, and Weston-superMare.

S T U D I O C O O RD I N ATO R: A L E X W RI G H T

Groups spend the initial part of the year carrying out analysis of, and research into, their chosen town or city. Each group then develops their priorities and design principles for the project in the context of a specific locale within their study area, which they define. This locale is used as a vehicle to explore transformative urban design proposals.

The group element of the project concludes before Christmas with the presentation of their masterplan, based on the principles of low carbon urbanism. In the last part of semester 1 students individually prepare a development brief for a site within their locale, with this forming the basis of their semester 2 studio project.

The second half of the year is spent entirely on the students’ individual design projects, situated within their masterplan locale.

The projects provide the opportunity for every student to employ the full range of knowledge and expertise they have gained in the course of the architectural education. Each student is encouraged to pursue their own agenda for the project and to use the opportunity it provides as a springboard into their professional careers.

Professor Alex Wright 6th Year Studio Coordinator

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Project Location

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T H E M U LT I - P O O L S CAMPUS

MASTERPL ANNING

Blackpool Elizabeth Hoang, Clarice Hong, George Matthews, Gulim Satekova, Lawrence Tang

LO C AT I O N: B L AC K P O O L

B L A C K P O O L’ S E D U C A T I O N G ATE WAY

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The masterplan aspires to establish a more prosperous and sustainable future for Blackpool, educationally, socially and economically. Using the education sector as a catalyst and re-discovering Blackpool’s rich but forgotten heritage, the proposal looks to revive, strengthen, and diversify Blackpool’s current tourism industry. It will restore Blackpool to its former glory as a place of buzz and excitement for its people and visitors.

The proposal relates the community back to the natural landscape whilst offering a more sustainable and relevant approach for the tourists of today and the future. A linear multiversity campus is proposed along Yeadon Way, which stretches between the town centre and gateway. Six character ‘Pools’ are defined along the route with its existing contexts, each consisting of a multiversity department, community functions and public realm design. Together with a new electric tramway and public landscape, the proposal will re-connect Blackpool’s communities to its heritage and townscape, Blackpool will claim its regenerated identity as the North West’s new education gateway.

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MASTERPL ANNING

LO C AT I O N: B L AC K P O O L

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SEED Elizabeth Hoang

INDIVIDUAL PROJECT

Elizabethhoang95@outlook.com

TUTOR:

JAY NE BA RLOW

BLACKPOOL WETLAND CENTRE Blackpool’s naturally beautiful marshland landscape had been destroyed and forgotten. The land was cut for peat and heavily drained to make way for the rapid urban sprawl of the town that occurred with the explosion of its tourism industry. It has since been overshadowed by the flashing lights and amusements along its coast.

Currently, wetlands are disappearing 3x faster than forests. Only 3% of the lowland raised bogs that once existed in the NorthWest of England remain today. The draining and loss of wetlands causes a range of major issues including land degradation, flooding as well as contributing to the climate crisis, so it is imperative to protect and restore wetlands where possible.

Blackpool, getting its name from a historic drainage channel that ran over a peat bog, that caused discoloured water to discharge into the Irish sea, its peatland is very much a key part of its identity that has been forgotten. This wetland centre, created using rammed earth formed from the local soils is a building that has manifested from its landscape. It aims to assist in our battle against climate change as well as reconnect people to the town’s peatland heritage.

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THE GRUNDY GALLERY OF LIGHT & ART CENTRE Clarice Hong claricehong0811@gmail.com INDIVIDUAL PROJECT

THE INTERPL AY OF LIGHT & SHADOW

TUTOR: JO HIBBERT

The proposal is part of the Blackpool town centre regeneration plan, converting a 200m long car park, which is sandwiched between the backs of existing buildings, into a new building complex designed for the Grundy Art Gallery. It will accommodate the growing ambitions and programmes of the Grundy, allowing it to become the first art gallery in the UK to specialise in light exhibition. The Gallery of Light celebrates the multi-faceted relationship of light and shadow through its spatial arrangement, rich texture and lighting design. It houses exhibition spaces showcasing various light conditions, a roof sculpture garden and public roof garden overlooking the entire townscape. As for the Art Centre, it facilitates the education and public engagement programme of the Grundy by providing a 200-seat auditorium, education suites, public courtyard, office and archive.

The proposal acts as a catalyst to revive a thriving streetscape at Blackpool’s town centre edge. By re-establishing active street frontages, reintroducing independent retail units, and transforming Kings Street into a new rain garden, the area will once again become the civic ground of Blackpool.

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MARTON MERE ECOTHERAPY CENTRE Gulim Satekova

INDIVIDUAL PROJECT

satekovag@gmail.com

TUTOR:

ALAN KEANE

ARCHITEC T URE, NAT URE, A N D W E L L- B E I N G The intention of this project is to create an ecotherapy, research and visitor centre in Marton Mere (Blackpool), which will be an addition to the existing network of nature reserves of the Wildlife Trust in Lancashire, Manchester and North Merseyside; and an off-campus research facility for the proposed Multi-Pool University.

‘Myplace’ is an ecotherapy programme delivered by the Wildlife Trust in partnership with the Lancashire and South Cumbria NHS Foundation Trust.

The project aims to improve the well-being of the local community by providing the ecotherapy centre; to reveal and restore the forgotten beauty of Blackpool’s nature.

Furthermore, the proposal provides an opportunity of diversifying the current tourist offer of Blackpool in order to contribute to the economy.

In addition to the environmental and social sustainability targets, this initiative hopes to explore the relationship between architecture and nature and its effects on well-being through the experimentation with senses and study of the garden folly typology.

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BL ACKPOOL C O N S ERVATO I RE Lawrence Tang lawrencetang211@gmail.com INDIVIDUAL PROJECT ROB GREGORY

The main aspiration of the conservatoire is to help restore Blackpool as not just a tourist destination for the future, but also to rejuvenate its communities through education in music. Today’s conservatories and music schools are testaments to the commitment to the art and potential of musical performance and study.

TUTOR:

THE CONSERVATOIRE BY THE SEA

The new conservatoire serves not just the musical talents in the country, but also as a beacon of hope and aspirations for the youths living in Blackpool who are currently deprived of opportunities.

In the advent of a pandemic, Blackpool’s new conservatoire strives to see the positives in light of the issues, and treat the challenges as a catalyst for change by becoming a pioneering centre for music as UK’s first seaside conservatoire.

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DOVER MASTERPLAN

MASTERPL ANNING

United Kingdom Charlotte Hails, Justin Smallwood, Edward Stark, Rhiannon Williams, Alice Wilson

LO C AT I O N: D OV ER

CHALK & QUAYS Analysing Dover, several key issues were identified with the state of the town. The main factors are the activities of the port and the poor transport network. The small town is overwhelmed by freight traffic along the seafront, which creates a disconnect between the residents, their town centre and the water. The recent world wars created severe damage to the material of the area and the town has been in decline since. It is suffering from social and economic deprivation while geographic features are pushing the urban sprawl out of the valley. The River Dour as a spine through the town centre creates a recurring flood risk and the culverting at various points has led to it being ignored.

The masterplanning approach to these problems has centred around five areas.

By relocating the industrial port activity to the east and tunnelling the congested A20, the town reconnects to the sea. Replacing the existing public transport system with an improved tram line, combined with an efficient bus network, helps connect residents to the town and into the wider AONB. The masterplan enables Dover to seize back its waterfront identity and provides the potential for its future growth.

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MASTERPL ANNING

LO C AT I O N: D OV ER

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DOVER SEA SPORTS Charlotte Hails

INDIVIDUAL PROJECT

cmhails@live.co.uk

TUTOR:

JO HIBBERT

“ V I TA M IN S E A”

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Due to the damage caused by the Port activity on the Town of Dover, a powerproducing tidal lagoon was proposed. This large scale masterplan intervention has led to the enclosure of the harbour away from the working port, and in turn has provided the new leisure front with a controlled, predictable lagoon filled with calm waters with very little current. From this starting point, it became apparent that Dover needed to harness its seafront and activities provided by it; by developing a sea sports centre. The new beach-front will become more engaging and active as this water environment is the perfect location for the learning and development of sea sports that rely on wind. The Dover Sea Sports Centre provides facilities for children and adults to learn how to sail, kayak, paddleboard and windsurf alongside each other.

MARCH ARCHITECTURE | YE AR 6

THE HOUSE OF CIVIC M ERC A N TA L I S M Justin Smallwood justin.smallwood@gmail.com INDIVIDUAL PROJECT

A COLLECTIVE ADMINIS TR ATION HUB + MARITIME MUSEUM

ALAN KEANE

Using modern interpretations of features found in Dover Castle, the project takes a defensive stance against the harsh coastal conditions of the site. The primary example of this is a pivoted set of crenelations forming the facade treatment, limiting unwanted solar gain and framing specific views. The scheme sits at a unique junction between the town, port and freeport, acting as a transitory block between a leisure seafront and the industrial transport port. This has required the use of acoustic treatment to mitigate background noise from the road now bringing every lorry in and out of Dover’s port, whilst the seafront elevation offers an extensive promenade public realm to enhance the site.

TUTOR:

The new regenerated town of Dover requires a new centre for it’s collective leadership bodies. These being the District Council, Port Authority and Freeport Authority. Inspired

by Dover Castle, the scheme ties all three clients together by using a maritime museum as the primary circulation space for the administrative offices. This celebrates their collective history and acts to both engage the public in local politics and remind them of the success achieved when working together through a joint maritime heritage.

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ORDNANCE CENTRE Edward Stark

INDIVIDUAL PROJECT

starkyed@gmail.com

TUTOR:

JO HIBBERT

HERITAG E M A DE ACCESSIBLE The scheme presents a suite of interventions at the edge of Dover Castle, improving the site’s operation and adding new value. At the clifftop sits a new Visitor Centre for the Castle, and at the bottom the ‘Coastal Ordnance Centre’, a facility dedicated to preserving and displaying English Heritage’s collection of coastal artillery. This is important as its largely iron collection requires constant maintenance due to the Marine Air Environment. This facility consolidates these efforts while attracting new visitors.

While the Visitor Centre prioritises reversibility, the Ordnance Centre respectfully integrates with its historic context, presenting terraces and a curved frontage which relate to those of an adjacent Tudor-era fort.

Connecting the two functions is a Funicular Railway, which delivers visitors to a historic balcony and tunnel system within the cliff, from which new lifts carry them to the Visitor Centre. This creates a pedestrian connection between Dover’s Castle and Seafront, relieving the castle of its dependency on the car. It also provides wheelchair access to the ‘Wartime Tunnels’.

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DOVER LIDO Rhiannon Williams rhiannonwilliams0@live.co.uk INDIVIDUAL PROJECT

THE CHANNEL SWIMMING CENTRE

ALAN KEANE

The site is in a prominent location, between the seafront, town centre and tunnelled A20, which forms part of the masterplan proposal. It will provide an iconic new facility along the waterfront, making sport and recreation available to the local community, where there are currently few opportunities. The programme has carefully been considered to include a diverse range of activities to attract a variety of user groups. It will also encompass a new Channel Swimming Association Headquarters, as currently their offices are over 130 miles away.

Providing recreational space for Dovorians, as well as visiting athletes, the scheme will reestablish Dover’s seaside character.

TUTOR:

Dover today is suffering from social and economic deprivation and is viewed as a place of transit, rather than a destination in its own right. The small town is often overwhelmed by freight traffic along the A20, which creates a disconnect between the residents, their town centre and the waterfront. This proposal seeks to reconnect Dovorians with the seafront, through the sport of swimming, by providing a Lido and Leisure centre.

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BULWARK CENTRE OF REFUGE Alice Wilson

INDIVIDUAL PROJECT

alice.m.wilson@hotmail.com

TUTOR:

JO HIBBERT

A SOLUTION TO A TEMPORARY PHENOMENON In a time of rising conflict and uncertainty, Dover has seen an unprecedented increase in the arrival of migrants onto its shores, with little more than speculation surrounding what happens to those who arrive safely.

Dover is ultimately overwhelmed by the nature of their migration and wholly unprepared in terms of facilities to support and care for these people.

With over 8000 refugees tackling the journey across the English Channel in the last year, this project creates a Centre of Refuge by encompassing basic human needs and providing assistance along the path of a lengthy asylum process. The project will look into the mix of programmes and functions that are sensitive to this type of provision, alongside grounding new UK arrivals into the Dover local area.

The building is designed to provide a safe and thriving community for new arrivals along Dover shores, and to support them along the process of seeking asylum in the UK. Providing on-site opportunities for fulfilment with the use of gardening, cooking and crafts will allow them a sense of security throughout a period of uncertainty.

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O F

W I S D O M

Chill out. Your work does not define you. • THE LIBRARY IS AMAZING! • Wiggly straight lines make anything look architectural. • Things will get better. • First 3 years don’t count, release

BSC ARCHITECTURE | YE AR 4

W O R D S

your anxieties and have fun. • Resting is as important as working when it comes to creativity :) • Don’t use a scalpel when you’re tired. • Save your all-nighter quota for final year. • Your project may be criticized during crits but don’t take the criticisms personally or feel dejected by them, use them to further improve the project and yourself as an architect. • Keep up your hobbies!

slowly, quickly, backwards whatever. • Caring less often produces better work. • Don’t take yourself, or anyone else on the course, so seriously. • Make sure you have a social life and speak to

INDIVIDUAL PROJECT

• PRACTICE TIME MANAGEMENT. • Keep up hand drawing and stick to how you work best,

people outside of the architecture bubble! • Commit to a society. • DON’T PROCRASTINATE. • Be kind to yourself. • Buy a 3 sided scale ruler! • Surround yourself with people who are

got this! • After third year, things somehow start to make sense. • Don’t take what guest critics say to heart because in the end they are still learning from the industry and don’t know

TUTOR’S NAMEI

FORGET TO BE CREATIVE :) • Just stick to how you work best and keep going! You’ve

TUTOR:

better than you - they are the best assets for learning and challenging your potential! • DON’T

everything. (Everyone fakes knowing things in the real world) • IGNORE EVERYONE ELSE’S WORK, YOU KNOW YOUR STYLE. • Don’t be scared of hand drawing - it takes practice so the earlier you start the better you get. • Use the workshop. • Fake it till you make it!

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N AT U RE A N D N U RT U RE

LO C AT I O N: D U N D EE

MASTERPL ANNING

Dundee, Scotland Gabija Gumbeleviciute, Yixin Han, Kim Huynh, Yee Yuen Ku (Aaron), Zhong Yea Lim, Ellen Radcliffe

WEAVING THE CIT Y THREAD Present and past development has focused on the East-West waterfront expansion, overlooking the other axis, and more crucially, Dundonians themselves.

The masterplan proposes a connected stitch, a city thread which choreographs, connects and conveys a message of collective growth.

Exploring future capability through the lens of its past, Dundee needs to undergo a process of nurturing to capitalise this era of transition.

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MASTERPL ANNING

LO C AT I O N: D U N D EE

Existing City Road

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REU S E O F H ERI TAG E Gabija Gumbeleviciute

TUTOR:

JO HIBBERT

INDIVIDUAL PROJECT

gabijagu20@gmail.com

TRIBUTE TO THE JUTE The site is located in an area called Lochee. It has a rich industrial past, which is forgotten. Lochee was famous for jute production during industrial era and the site sits just outside the former jute factory known as “Camperdown works”. Thus the scheme links to the historical past through weaving. It weaves old (existing) and new (proposed) into one experiential boutique hotel. The scheme also features many jute elements in its interiors to pay tribute to the former jute factory.

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Kitchen

LIOS Yixin Han Yixin.han@outlook.com INDIVIDUAL PROJECT

PRODUCTIVE LANDSCAPE

The concept of Lios is a miniature social experimental model of sustainable development in the era of desphericalization through the study of the life rhythms and material cycles of the traditional Scottish agriculture society. It integrates conservation, urban landscape, rainwater harvesting, and restaurant experience based on the existing urban farm typology. It becomes an oasis with the theme of celebrating local agricultural traditions in the historical industrial zone of Blackness.

JAY NE BA RLOW

An urban planting project located in the former capital of the jute industry in Scotland. The topic here is the “sick city” in the post-industrial era and its possible mitigation methods by reviving the traditional agricultural social lifestyle.

TUTOR:

URBAN

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HUMANE PRISON Kim Huynh

INDIVIDUAL PROJECT

kim.jamie.huynh@gmail.com

TUTOR:

ALAN KEANE

HOPE IN REH A BILITATION This individual studio project proposes a Humane Prison in Dundee. It will be a type of prison that is unprecedented in Scotland and the UK. It revolutionises the focus of the justice system on rehabilitation instead of punishment. Both violent and non-violent male drug offenders from HMP Perth will be transferred to a special, urban and rehabilitative prison on Lochee High Street.

They will have access to steel arts education and drugs rehabilitation programme in the form of mental health treatment. A steel arts exhibition mental health centre and recovery cafe will form the public face of the prison.

Keeping a small prison population within the community in an urban setting hopes to ease the prisoners’ reintegration into society and challenge public stigma, promoting the shift of prisons from punishment to rehabilitation.

The massing and architecture expresses the prison as part of the high street and belonging to the community. The materials, layered facade and abstracted gable end roof form reference Lochee’s industrial heritage, nurturing and transforming Lochee’s identity.

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TAYS I D E U P CYC L I N G ARTS CENTRE Yee Yuen Ku (Aaron) yeeyuenku@gmail.com INDIVIDUAL PROJECT

REIMAGINING P O S T- I N D U S T R I A L RECYCLING

ROB GREGORY

As it has been identified that the lack of public engagement as the culprit behind the littering issue in Dundee and ‘recycling apathy’ of Dundonians, the project sees a new generation recycling centre that could actively engage the local community in the waste handling process by organically interweaving the industrial and creative elements that are otherwise separated in a conventional context. By ‘wrapping’ the more communal and creative functions of the programme, such as landscape, art and commercial, around the waste sorting process, a more participatory backstage experience could be offered that serves both utilitarian and educational purposes.

TUTOR:

This is not a utopian idealised antithesis of capitalism and consumerism, rather it is an advocate against meaningless and excess consumption which endows one a false sense of contentment. The thesis sees waste treatment as a contemplative and reflective practice on oneself, a pilgrimage of modern asceticism that eventually leads to self-nourishment and happiness.

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KEILLER WORKS Zhong Yea Lim

INDIVIDUAL PROJECT

limzhongyea@gmail.com

TUTOR:

ROB GREGORY

‘ WHAT IF KEILLER’S MARMALADE NEVER CEASES TO EXIST?’

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In its imperial heyday, Dundee was once known as the city of Jute - Jam - Journalism.

Its legacy has turned the city into a place with full of mysterious and discovery. A new marmalade museum is proposed at the former largest inner industrial city in Dundee, called Blackness where the jute museum, Verdant Works with Grade A accredited listed building is located. These two museums sitting side-by-side will acts the gateway telling the story of Dundee’s history.

The narrative aims to reclaim the identity of Dundonian and celebrate the brand of Keiller’s Marmalade, attracting visitors from local, national even international to visit the place, boosting the tourism and reducing the unemployment within the city. It encourages both public and social engagement with not only the building intervention, but also the subject matter MARMALADE. The intention of this project is to make it a leading leisure attractions in the UK as well as Europe, revealing the history of world first commercial marmalade brand and giving the visitors a memorable enjoyable yet unique marmalade experience.

MARCH ARCHITECTURE | YE AR 6

THE NABBLE KNITWORK Ellen Radcliffe ellen.a.radcliffe@gmail.com INDIVIDUAL PROJECT

WOOL MANUFAC T URER, VISITOR CENTRE AND REPRESENTATION

JO HIBBERT

What the proposal advocates is a return to locale. The high market value placed on specific items is intrinsically fascinating where high prices can reflect an appreciation for cultural practices, shared histories, geographic origin, and for a craft’s slow process.

TUTOR:

Many mill buildings and industrial factories remain across the United Kingdom in various states of disrepair or development.

In an area such as Blackness, reuse should be seen as an opportunity where singular developments can act as catalytic landmarks for widespread investment and regeneration, positively affecting an area and its community.

The building aims to celebrate the underappreciated native fibre of wool, where partnerships with local farmers and public exhibitions can connect both ends of a supply chain. Championing sustainable practices can be showcased in a representative building, where history and reuse are celebrated. Ultimately, a singular architectural project can provide a precedent for local economic and cultural opportunities.

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THE FREE CITY

MASTERPL ANNING

Gdansk Andrew Caws, Victoria Guscott, Orsi Kapus, Alastair Kinnis, Kat Popowczak

REDEFINING THE IDENTITY OF THE FREE CITY

LO C AT I O N: G DA N S K

The physical barriers within Gdansk have established a living reality fragmented from the embedded identity of the city. Through the removal of obstacles splintering the urban fabric, we allow the people of Gdansk to acknowledge and reengage with a district that is saturated with collective memory.

The dissolution of these barriers is facilitated by a holistic city-scale intervention. Through the utilisation of redundant infrastructure, the ‘productive loop’ addresses an array of the city’s needs.

Alongside improving connectivity, the new network incorporates the transportation of agricultural produce, industrial goods, and household waste, significantly reducing Gdansk’s overall carbon emissions through a single city-wide solution.

By retaining and celebrating the structures which have been immortalised by the historic events of 1980, the proposal draws on the subliminal associations between the locale and notions of freedom and integrity.

The Free City aims to soften the divide between the industrial and the natural, alongside reconciling the disparity in scale between user and urban fabric.

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MASTERPL ANNING

LO C AT I O N: G DA N S K

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THE COAL ‘ODYSSEY’ Andrew Caws

INDIVIDUAL PROJECT

andrew.caws@hotmail.co.uk

TUTOR:

ROB GREGORY

MONASTERY FOR THE DESTRUCTIVE WORSHIP OF COAL The abundance of coal in Poland is considered a strategic resource of cultural importance. The country now finds itself at a critical moral transition - to turn their back on the enigmatic social culture of this industry and embrace wider political incentives, or fall for the poetic awe and ‘nostalgia’ of coal - the substance which has come to define their inherent way of life.

Within Gdansk exists the ‘Elektrociepłownia Gdanska’ power station - a landmark to the presence of the anthropocene.

An enigmatic monument to industrial functionality and destructive processes.

Provoking connotations of the sublime, it defines a ‘landscape of consumption’. This site therefore defines the opportunity to explore the destructive worship of coal that exists in Poland - and portray the ‘nostalgia’ and social discourse embedded within through sacred and profane connotations.

Through the design of a monastery and ‘pilgrimage’ aligned to the monumental flue stacks - the people of Gdansk can embark upon their own journey of social and cultural importance at The Coal ‘Odyssey’.

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BODIES IN MOTION Victoria Guscott victoriaguscott9@gmail.com INDIVIDUAL PROJECT

HED O NISM + HE A LT H

Inspired by the Soviet sanatorium and the idea of the social condenser, the project aims to incorporate freedom of choice into this declining model of productive leisure by balancing healthy functions with hedonistic ones.

ANNE CL A XTON

The intention was to create an accessible facility for the community to come together through motion. A building to heal and indulge the body, where different moods can be cultivated and expressed.

TUTOR:

Bodies in Motion explores the contrast between hedonism and health through a series of spaces relating to the rhythms of day and night which facilitate free movement of the body.

Located in the shipyards of Gdansk, old and new are combined in a symbiotic relationship to create an asset for Gdansk which balances the shipyards’ past histories, present cultures and what the area may become.

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d i s t ill e r

mixologist

ROZCHODNIACZEK Orsi Kapus

INDIVIDUAL PROJECT

orsolya.kapus@bath.edu

GDANSK DISTILLERY AND PUBLIC HOUSE

TUTOR:

JAY NE BA RLOW

rozchodniaczek [n.] “one for the road” a portion of usually high-percentage alcohol, served in 50ml glasses, drunk together ritually by a group of people before going home from a drink-filled social event.

The project celebrates the traditional values of Gdansk in solidarity, tolerance, and progress. This is achieved by a programme that facilitates building trust between locals and outsiders through the revival of traditional Polish hospitality: a distillery making the city’s famous Goldwasser, a thick herbal liquor with gold flakes suspended in it.

The typology to act as a vehicle for this is the public house, with three artisan hosts overseeing the three stages of liquor making: the botanist, the distiller and the mixologist.

The distillery is integrated into the historically saturated locale through the preservation of as much of the shipyard’s original fabric as possible: the building therefore reclaims the same bricks which witnessed the Solidarity movement, elevating the status of the humble brick to that of a historical artefact.

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FABRY K A LUDOWA Alastair Kinnis alastairkinnis@gmail.com INDIVIDUAL PROJECT

A CITIZENS’ A S SEMBLY BUILDING AND DRIVER OF SUS TA IN A BLY ORIEN TATED INDUSTRIAL PRACTICES

ALAN KEANE

Drawing on the rich cultural foundations of the city, this project looks to develop a scheme able to resonate with the collective unconscious of the local populace, aspiring to engage with both the present and future generations of the locale to cultivate an ethos of sustainable industrial culture.

TUTOR:

Through an exploration of hybrid building typologies this thesis project explores the capacity of architecture to facilitate sustainable growth within a modern mercantile city. The design seeks to address two primary drivers of technological advancement within industrial fabrication, the professional world and academic realm.

A public ground floor plinth promotes the creation of inter relationships between each of the three unique building types unified by this project.

The key aspiration of the proposed building was to present a model which forwarded the capability of architecture to support a self-perpetuating symbiotic system of governance, commerce, and education.

Fabryka Ludowa || The People’s Factory

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THE CENTRE FOR CLEAN FUTURE Kat Popowczak

INDIVIDUAL PROJECT

kasia.popowczak@hotmail.com

TUTOR:

JAY NE BA RLOW

DECARBONISING GDANSK

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With the global concern on the Climate Crisis and the unsustainable model of the Polish economy, the development of national awareness is crucial to initiate a change. Undoubtedly, Gdansk profile, and its nature of being a start of important events, makes the city one of the best candidates to begin a general thinking switch in Poland.

The new landmark will not only serve as a base for research on the latest technologies for energy production, but it will also initiate a change on a national level and educate citizens on available renewable energy sources and their day-to-day use.

The Centre will be home to a new Research Facility for Gdansk University and LOTOS Group, working closely with the local industry to develop an energyefficient technology for transforming the energy from off-shore Baltic wind farms to hydrogen. Additional research will concern the improvement of technology generated by the sun and wind. Along with the Research Facility, the building will accommodate an Education Centre encouraging co-operation between the industry, university, and citizens.

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INDIVIDUAL PROJECT

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P LY M O U T H

MASTERPL ANNING

United Kingdom Frances Bolt, Elizabeth Borland, Claire Drake, Stephanie Mervild, Sara Nakandala, Abigail Sayers

LO C AT I O N: P LY M O U T H

THE SUS TA IN A BLE ISL A ND

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Plymouth is bound by natural green landscape and the sea. Our proposal seeks to emphasise these natural assets through the implementation of a sustainable island concept; all parts working in unison with the intention of an entirely self-sufficient city. This encompasses energy, waste, food and economics, with the intention of reducing the city’s carbon footprint.

Stonehouse will act as a prototypical cell within the structure, which can then be replicated and adapted to other districts in Plymouth, creating the unified self-reliant and sustainable city.

Our masterplan focuses on three main elements to address the existing issues the locale face: its low density city plan; vulnerability to flooding and limited access to water and nature. The three interventions are: the water’s edge, providing a balanced exchange between the city and sea which promotes interaction with the water and education surrounding the effects of climate change on our oceans; the Creek, providing a connection with Dartmoor and Union Street, which will act as a community core and a social and economic driver for the area.

MARCH ARCHITECTURE | YE AR 6

MASTERPL ANNING

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THE GENTLEWOMEN’S CLUB Frances Bolt

INDIVIDUAL PROJECT

frances.bolt@live.com

TUTOR:

ALAN KEANE

A CENTRE FOR FEMALE EMPOWERMENT

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The Gentlewomen’s Club proposes a new civic typology, blending social, political and domestic spheres in order to provide a day to day support network for women and a platform for female participation in the public realm. The project serves as a response to gender inequality and male violence towards women in the urban environment, acknowledging that women in Plymouth do not currently have an equal right to the public realm and seeking to progress women’s ability to dwell in public space, marrying retreat with a right to the city and the sea.

The requirement for both a retreat and a bold claiming of space is echoed in the contextual need for both coastal resilience and civic transparency. A light, protected volume rests above a robust, carved base.

The solid base is carved into a stepped landscape, fragmenting the existing barrier between the city and the sea. The volume above is lighter, changing its character with the weather and time of day. Its shifting translucency means that it can be solid and protective, as well as glowing and projecting a sense of safety to the street at night.

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A G AT E WAY TO T H E CREEK Elizabeth Borland elizabeth.borland@live.co.uk INDIVIDUAL PROJECT

THE SOUTH WEST CYCLING HUB

ANNE CL A XTON

As we reduce our dependency on carbon intensive methods of transportation, there will be a rise in cycling across our cities.

This project will coincide with this increase, acting to promote the many benefits from cycling and providing the essential facilities required for the local community. Due to the high levels of transport poverty and deprivation in Stonehouse, the building will house a workshop to teach the local community workshop skills through the repair of bikes. The building will contribute to the masterplans sustainable island concept and assist in helping Plymouth become a car-free city.

TUTOR:

A pivotal part of the Plymouth masterplan involved the redesign of Stonehouse Creek to become undulating, biodiverse landscape, with the capability to act a water attenuation store. Situated within this, and on national and international cycle routes, the project is a flagship cycling centre for the South West of England. The two adjacent natural landscapes, the Creek and the water’s edge, have influenced the strong natural material palette of timber and rammed earth.

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THE ENDICOTT Claire Drake

INDIVIDUAL PROJECT

c.drake8994@gmail.com

TUTOR:

JAY NE BA RLOW

PERRY PRODUCTION AND CONSERVATION CENTRE

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The Endicott celebrates the craft of traditional perry production and the conservation of apple and pear tree varieties native to the UK. Located on the outskirts of Plymouth’s city centre, at a pivotal junction between Stonehouse Creek and the sea, The Endicott acts as a placemarker, connecting the South-West Coast Path and walking routes up to Dartmoor National Park.

The Méthode Champenoise now used in France to make champagne, originated in the UK in the late 17th Century, and was used to create sparkling wine, cider and perry. The design of The Endicott celebrates this traditional method with a public walkway suspended between pear wood riddling racks and bottles undergoing secondary fermentation. The bar provides views out to the orchard, creating a sense of sitting within the canopy, whilst the cafe opens up to the Perry Garden giving visitors the opportunity to sit in the afternoon sun with a glass of Perry. A seed bank sits at the heart of the conservation tower, intended to be a beacon of research into lost apple and pear tree varieties.

MARCH ARCHITECTURE | YE AR 6

C O N S ERVAT I O N & DIVING CENTRE Stephanie Mervild stephanie@mervild.com INDIVIDUAL PROJECT

A G ATE WAY TO THE SO UND

JAY NE BA RLOW

The proposal seeks to form part of the natural landscape, at the defining moment where land meets water. In line with this, the proposal includes careful considerations to facilitate the rich biome and ecosystem, which is characteristic of the coastal and marine environment. The scheme acts to connect people with the ocean, offering a rich and full experience of both coastline and sea, with a reminder of the value of conservation. The building merges with the landscape, representing the symbiosis between human and nature.

TUTOR:

The recent announcement of the establishment of the National Marine Park in Plymouth, serves to emphasise the importance the marine environment and it’s quality in the Plymouth Sound. The proposed Conservation and Diving Centre will form a gateway to the Sound, forging a connection between the local people and the natural environment. The scheme and landscape strategy act not only to raise awareness of the anthropogenic impact on the environment, but spotlights the urgent requirement for the protection, restoration and conservation of our oceans.

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MODEST UNION Sara Nakandala

TUTOR:

ANNE CL A XTON

INDIVIDUAL PROJECT

snakandala@gmail.com

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CENTRE FOR SUS TA IN A BLE TE X TILES Modest Union aims to be a social hub for skill-sharing, creativity and sustainability.

The complex consists of spaces designed to educate and encourage sustainable clothing manufacture and use. Dedicated classes present the local community with the opportunity to gain the skills for permanent jobs and to improve their quality of life. The principle ‘Make Fashion Circular’ drives the ambitions of the project in order to realise a sustainable future.

The central courtyard is a key moment in the scheme. The brightly coloured, enclosed social space draws all users of the building out into the gardens and engages them with the processes at varying stages being carried out in the surrounding workshops. Start-up design studios, a dye laboratory and a community workshop occupy the spaces that bracket the courtyard. These spaces are directly exposed to the communal courtyard and encourage observation. As a local initiative, the community are invited to take part in skill-building activities that include sewing, dyeing and weaving, as well as lectures and classes on sustainability and business. They work with professionals from each field in order to gain skills and be introduced to networks in a creative and healthy environment.

[this is a sample layout, max 8 images]

MARCH ARCHITECTURE | YE AR 6

A CENTRE FOR I N N OVAT I O N Abi Sayers abi.sayers.1@gmail.com INDIVIDUAL PROJECT

A HINTERLAND BETWEEN LAND AND SEA

ANNE CL A XTON

The new Centre For Innovation provides a base for research into new building technologies around sustainability, with a particular focus on materials, construction and systems. The Centre will create an educational programme for students to design and construct sustainable climate resilient prototypical structures that will lie within the re-naturalised Millbay Marina and coastal path for public use.

TUTOR:

Sea level rise predictions highlight that vast areas of the world will be submerged by 2100. Many factors are contributing to the climate crisis, with the construction industry being a large contributor. The field of design is at a pivotal moment, expanding to confront complex problems that require robust and adaptive responses.

Exploring how nature reclaims the land, an inhabited stone wall (proposal) is carved into the cliffscape, which provides a connection between the coastal path that lies above and meandering routes that lie below in the natural landscape. Visitors will enter and exit the building via the two timber elements that sit in and sit out of the stone core. The user is taken on a journey from woodland to sea.

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INDIVIDUAL PROJECT

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THE LIMINAL CITY

MASTERPL ANNING

Thessaloniki Sophia Babiolakis,Michele Chee, Markos Spyrides, Raluca Turcu, Julia Wong, Julian Wong

LO C AT I O N N: T H ES S A LO N I K I

COLLECTIVE URBANISM The project looks at various ways in which the densely packed walled city might provide its inhabitants with the necessary tools and spaces to decide how Thessaloniki develops on their own terms. Through Christopher Alexander’s treatise on the nature of cities as ecosystems of intensely inter- and intrarelated social interactions, the proposal takes into account the various issues that arise from an outdated administrative system and pitches them against the willingness and desire of the citizens to actively get involved.

The proposed framework identifies key sites within Thessaloniki that will act as catalysts in its upcoming redevelopment. These sites are the apexes of the interactions between people and the built fabric within the walled city; as they are incrementally reconstructed from the ground up, their influence is weaved into the rest of the city in the form of a nodal cascade.

By repairing the stage on which Thessaloniki’s social performance plays out, the city begins to reveal its multifaceted nature. In this state of liminality, new possibilities for socio-cultural and environmental redefinition arise.

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Alaca Imaret Regeneration Heritage Asset as Community Amenity

MASTERPL ANNING

Agia Sofia Opening Up Churchyard as Catalyst for Intergenerational Exchange LO C AT I O N: T H ES S A LO N I K I

Hamza Bey Mosque Reinstatement Cultural Representation in the Built Fabric

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THE CRAFT HOUSE Sophia Babiolakis

INDIVIDUAL PROJECT

sophia.babiolakis@outlook.com

TUTOR:

ANNE CL A XTON

PROCESS . PRODUCT .

IDEOLOGY The city of Thessaloniki is a place where the old and new coexist. Similarly, the craft sector comprises of traditional techniques and contemporary innovative practice. This project seeks to embrace these synergies by stitching a series of collaborative working studios and workshops into the existing fabric of the city.

The Bezesten Gallery showcases the craftsmanship that takes place in the workshops beyond. The gallery spills out into the walled garden, offering respite from the bustling streets.

The courtyard is a versatile space at the heart of the site. The workshops and cafe spill out into this space whilst accommodating installations, raku firing ceremonies or temporary structures.

The workshops provide specialist equipment for glass-blowing, ceramics, woodworking, metalworking and textiles, while the upper floors consist of studio spaces and a library.

Each craft technique is represented in the architecture of the facade and a walkway on the upper level connects these spaces and the productive roofscape.

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CITIZEN SCIENCE BUREAU Michele Chee michele-chee@hotmail.com INDIVIDUAL PROJECT

RE WILDING THE BAY OF THESSALONIKI

ALAN KEANE

Located at the end of the cultural pier of the city, the proposal forms a new destination and beacon to the city’s coast with a crystalline pavilion. The transparent skin encloses the nursery that sits amongst columns supporting the delicate canopy above. This allows the public to observe the rewilding efforts while connecting the nursery back to the bay.

TUTOR:

The Citizen Science Bureau is the headquarters of the living breakwater initiative in the Bay of Thessaloniki; housing a bivalve nursery, research centre and a marine life museum. The Bureau focuses on engaging Thessalonians with the rewilding project through volunteering opportunities in the nursery and exhibitions showcasing marine ecosystems.

The marine life museum sits below the pavilion, carved into the ground of the pier.

Here, visitors can experience a different view of life in the bay with tanks of marine life endemic to the Bay of Thessaloniki.

Occasional skylights punch through to the ground of the pavilion above, animating the cavernous lower ground floor with light reconnecting it with the spaces above.

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CAR AVAN SER AI Markos Spyrides

INDIVIDUAL PROJECT

markos.spyrides@gmail.com

TUTOR:

ROB GREGORY

(AN)ARCHITECTURE OF SOCIAL AGENCY How might squatting and the anarchic appropriation of space help architectural design achieve a more sustainable approach towards the reuse of existing buildings?

Should architects reconsider causal design in favour of consequential design? How could social agency inform a new mode of determining the function and design of space - one not dictated in absentia? What, then, is the architect’s role in this collective appropriation of space?

The proposed framework envisions that the power to design space will be transferred to those who inhabit Caravan Serai and will be exercised in real-time, organically redefining the architecture that surrounds them. It rejects the notion of a “fully resolved design solution” as an unsustainable architectural rhetoric in the creative reuse of buildings and embraces spontaneous and unpredictable change as being integral to their successful reappropriation.

In other words, the proposed scheme for Caravan Serai is one which has been designed so that its alteration by the end users is a necessary component for its realisation.

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NEA AGORA Raluca Turcu ralucaturcu2@gmail.com INDIVIDUAL PROJECT

A MODERN AGORA FOR THESSALONIKI

ROB GREGORY

The proposal’s goal is to transform the archaeological site into a modern-day agora. Focus has been placed on designing an inclusive public space, able to attract a diverse crowd and therefore act as a middle ground for democratic debate between people with different beliefs.

TUTOR:

The project proposes the development of the Ancient Roman Agora in the centre of Thessaloniki. Engaging with the world’s growing dissatisfaction with democracy, the projects takes as precedent initiatives for a more participatory democracy and is set in a hypothetical future where the city’s municipality is trying to implement community-led forms of governance.

The development consists of a community governance centre, whose programme is supported by a learning centre and technology workspace block. To complement the public programme, an extension to the existing Roman odeon on site is also proposed. The three elements are connected by two elevated walkways which mediate site accessibility whilst also providing a shaded colonnade at ground level.

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MACEDONIA BALLET Julia S. N. Wong

INDIVIDUAL PROJECT

juliawong0410@gmail.com

TUTOR:

JO HIBBERT

A BALLET SCHOOL FOR SALONICANS Macedonia Ballet is a place that provides a non-denominational and nonethnonational performing and learning platform for dance. The project includes a theatre, numerous dance and rehearsal studios, associated medical facilities and a food hall. The integration of the social and recreational programme aims to reduce social, political and ethnic segregation caused by the ageing demographic. The subtle patterns that are introduced throughout the journey of the building reference the Jewish symbolism and dance movement. Visitors are constantly reminded of the historical background embedded in the site and become more tolerant.

Thessaloniki, the 7th densest city of the EU, is tightly packed with polykatoikia apartment blocks. The project premise includes the Modiano Market, an existing wet market built by a Jewish Italiano architect, which has transformed into the entrance to the new building with impromptu performance space and food hall. The adaptive reuse conserves the decade-old market, which is of immense historical significance and gives a new life to the degrading architecture.

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I N T ERP RE TAT I O N CENTRE OF THESSALONIKI Ching Hang Julian Wong julivnw@gmail.com INDIVIDUAL PROJECT

A M U LT I-FA I T H STORY TELLER The scheme is a hybrid of museum and multi-faith library catalogue for the citizens to curate and investigate the untold stories of the Jewish, Turks and Greek communities in the city over the last 2300 years.

ROB GREGORY

The civic ground is arranged as a series of foyer, plaza and courtyard which organise social functions, and are reminiscent of both the interiority and external character of the ancient domus typology.

The theatrical character of the plaza is enhanced by balconies which takes inspiration from the vibrant elevations of Polykatoikia blocks lining the city.

TUTOR:

Sitting above 8m deep of Byzantine ruins, the scheme proposes an extension of the archaeological route that connects the existing museum from the metro station through the lower ground floor of the proposal to a courtyard that links to the adjacent church, where excavated ancient antiquities are displayed.

The galleries are designed as a trajectory journey which unwraps outward to the surrounding context and the church built in 450, allowing citizens to have an appreciation to the surrounding when meandering through the breathing spaces.

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EBB & FLOW

MASTERPL ANNING

Weston-super-Mare Oliver Laity, George Luffingham, Jake Mace, Jason Kyle Sim, Ross Startin.

LO C AT I O N: W E S TO N - S U P E R- M A R E

THE FOURTH ORDER

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Located on the boundary of the Somerset levels and the River Severn, Westernsuper-Mare sits on the liminal border of sea and floodplain. Water, people and nature ebb and flow across different timescales: the hills push through into the sky; the town grows away from the sea; the tide recedes daily to reveal the iconic mud flats; seaside tourists flock to the beach in summer; and birds migrate before travelling further north in the spring. It is through this lens that we consider the three elements of the town: Weston (west-settlement), Super (on/ over) and Mare (sea). The fourth order is not a hierarchy, but a series of exchanges; Weston, Super and Mare coexist in a natural harmony. This rebalancing forms the foundation from which the key strategies are built, from this new society the Westonian emerges. Their role is to nurture the new exchanges of Weston, Super and Mare, providing new attitudes to their locale. They pledge to be unbiased when defining their decisions valuing the impacts to all life and matter. As their influence deepens the town shifts its direction, moving into the Fourth Order and away from the debilitating hold of Carbon.

MARCH ARCHITECTURE | YE AR 6

MASTERPL ANNING

LO C AT I O N: W E S TO N - S U P E R- M A R E

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(RE) FORMED GROUND Oliver Laity

INDIVIDUAL PROJECT

ollielaity@hotmail.co.uk

TUTOR:

ANNE CL A XTON

WESTON SCULP TURE PARK Human engagement with the Earth’s territory is increasingly negative, its continual commodification has resulted in irreversible scars to the strata of the earth.

These scars form in the geological timescale of the Anthropocene.

The project sets out to question the critical zone between the physical and phenomenal world? Set across the landscape ruin of Birnbeck Pier, the production and exhibition of land art and architecture is seen as an exercise in engaging with locale.

This translation of experience of matter, in matter becomes the key function of the project.

The lose of the public’s own process is seen through the diminishing appreciation of work in-progress. This project seeks value in a personal and tactile process that could redefine what is ‘finished’. Utilising the sites own stone, a series of galleries, workshops and accommodation form a new land art and sculpture park for Weston-super-Mare; (re) grounding to the locale and its ever changing landscape.

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CARBON COUNCIL George Luffingham gluffingham@bath.edu INDIVIDUAL PROJECT

A SUS TA IN A BLE CI V IC T YPOLOGY

TUTOR: ALAN KEANE

The Carbon Council explores the historic relationship between architecture, the environment and politics, and how this might manifest in a new, carbon-neutral civic typology. In Anarchitecture: Architecture is a Political Act, Lebbeus Woods establishes his belief that architecture is fundamentally political, and to ignore this reduces it to “tokens of power at best, and - at worst - to instruments of destruction”. He also defines social justice as “the authority of individual acts and moments on a continually shifting landscape of acts and authority - the landscape of the free-zone”. Within this landscape architecture facilitates politics: its role is instrumental, not expressive.

How can these political themes manifest in reality?

Is it possible to facilitate the ephemeral, without restricting its autonomy? The Carbon Council seeks to address this by creating a series of distinct spaces that can be inhabited by the identity of its users: a canvas for civic expression.

The architecture does not aim to provide a complete solution, but a spatial framework to be filled and adapted by its users.

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HOUSE OF THE ANGUILLA ANGUILLA Jake Mace

INDIVIDUAL PROJECT

jakechrismace@gmail.com

TUTOR:

JAY NE BA RLOW

ARCHITECTURE AS THERAPY

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This programme seeks to address the increasing and inescapable phobia, death anxiety, through the form of ‘Architecture as therapy’. The programme intends to act as a catalyst in combating the decline in the eel population through sustainable eel farming, whilst also providing a satellite building for where CBT and exposure therapy can take place. Architecture as therapy transpires from three core objectives that run parallel through the programme of an eel farm.

The first objective refers to the notion of transformation and confrontation of death. This is linked to sensory experiences which allow the user to de-construct their boundaries and preconceived notions through active engagement. The second is opening up to new paradigms through performance and engagement.

The third thread relates to release and communication. This is in the form of rippling. As the architecture guides the users along the pathway to exposure, trigger and reflection, it is proposed that the individuals finish their therapy through the creation of a bioblock. This bioblock is left within the landscape, where marine flora and fauna can use as habitat.

MARCH ARCHITECTURE | YE AR 6

MEDICINAL PLANT INSTITUTE Jason Kyle Sim jasonkylesim@gmail.com INDIVIDUAL PROJECT

SYMBIOSIS OF MAN AND NAT URE

JAY NE BA RLOW

The masterplan defines the Fourth Order as not a hierarchy, but a series of exchanges; Weston, Super and Mare coexist in natural harmony, both offering and receiving from each other. The masterplan proposes the growth of ecological habitats across Somerset. The variety of medicinal plants that currently grow in the wild, within proximity to Weston-super-Mare, now flourish and are available to be researched and sustainably foraged.

TUTOR:

Due to over-harvesting and the effects of climate change, the planet is losing plant species more quickly than science can find, name and study them, thus having big consequences in the search for new medicines.

An extension of the masterplan, the Medicinal Plant Institute seeks to explore our relationship with the natural environment through the focused niche of medicinal plant science. Serving as the mediator between the foreshore and inland environments, it aims to address both the scientific and social value of local flora through the facility’s different facets.

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ECOLOGICAL PRIORY Ross Startin

INDIVIDUAL PROJECT

ross-startin@hotmail.co.uk

TUTOR:

JO HIBBERT

A REDEFINED CONNECTION WITH NAT URE

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Humanities connection with the natural environment has diminished alongside the growing threat of the climate crisis.

Current attitudes towards solving this issue look towards anthropocentric attitudes of controlling the environment rather than working alongside it. This project seeks to re-define this relationship, proposing a building which re-connects people with nature through providing spaces of reflection, contemplation and discussion between the Public, resident Stewards and visiting Pilgrims. Most importantly, this building contains a central archive in which people’s phenomenological experiences of nature are stored and made accessible for the purpose of rediscovering nature’s inherent value. This project uses traditional construction techniques and vernacular materials to create an architecture that is both sustainable and relatable. Moreover, this project addresses the abundance of disused and struggling church buildings within the U.K, redefining their role within society as places of ecological reflection and education, that provide refuge for those who wish to undertake the proposed ecological pilgrimage around the U.K’s coastline.

Blackpool Dover Weston-super -Mare

Thessaloniki

Plymouth

Gdansk

Dundee

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NAME

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T YPOLOGY

L O C AT I ON

CONSTRUCTION

197 Elizabeth Hoang

Research & visitors centre

Marton Moss

Rammed Earth + Timber

198 Clarice Hong

Art Gallery & Art Centre

East Topping Street Car Park

Reinforced Concrete Frame

199 Gulim Satekova

Ecotherapy & Visitor Centre

Marton Mere

SIPs + Timber Frame + Concrete Frame

200 Lawrence Tang

Conservatoire

Central, Seafront

Steel frame + CLT

205 Charlotte Hails

Sea Sports Centre

Dover Seafront

CLT + Glulam Portal Frame

206 Justin Smallwood

Museum / Offices

Dover Port

Stone Frame + Glulam

207 Edward Stark

Museum / Vistor Centre

Dover Castle

Precast Concrete + Masonry

208 Rhiannon Williams

Lido / Leisure Centre

Dover Seafront

Glulam + CLT + Concrete

209 Alice Wilson

Refuge Centre

Bulwark Quay

CLT

215 Gabija Gumbeleviciute

Boutique Hotel

Lochee

CLT + Glulam

216 Yixin Han

Productive Urban Landscape

Blackness

CLT-steel-CLT Sandwich Waffle Slab System

217 Kim Huynh

Rehabilitative Prison

Lochee High Street

CLT and Glulam Portal Frame

218 Yee Yuen Ku (Aaron)

Recycling Arts Centre

Blackness

Steel Frame; Cast-iron + Timber Frame

219 Zhong Yea Lim

Museum with orangery and minifactory

Blackness

Timber Space-frame + Cast-iron [existing]

220 Ellen Radcliffe

Factory and visitor centre

Blackness

Steel Frame + Glulam

225 Andrew Caws

Monastery

Elektrociepłownia Gdanska

Rammed Earth + Concrete

226 Victoria Guscott

Social Condenser

Gdansk Shipyard

Gabion Walls + Concrete + Glulam Frame

227 Orsi Kapus

Distillery and Public House

Gdansk Shipyard

Load Bearing Masonry [Brick]

228 Alastair Kinnis

Civic Institute

Imperial Shipyard

Masonry + Steel Frame

229 Kat Popowczak

Research and Education Centre

Gdansk Shipyard

CLT + Steel Hybrid

235 Frances Bolt

Gentlewomen's Club

Millbay

Reinforced Concrete + CLT

236 Elizabeth Borland

Bicycle Workshop & Creek Visitor Centre

Stonehouse Creek

Rammed Earth + CLT + Glulam Portal Frame

237 Claire Drake

Perry production and conservation centre

Stonehouse Creek

CLT + Glulam Portal Frame

238 Stephanie Mervild

Conservation and Diving Centre

Millbay Marina

Concrete + Glulam

239 Sara Nakandala

Sustainable textiles and education centre

Stonehouse

CLT + Glulam Portal Frame

240 Abi Sayers

Research and Education Centre

Millbay

Stone Masonry + Glulam Portal Frame

245 Sophia Babiolakis

Workshops and Exhibition

Papadopoulou

Masonry + Frame

246 Michele Chee

Research and Exhibition

Pier 1, Port of Thessaloniki

Steel Frame + Rammed Concrete

247 Markos Spyrides

Squat

Old City Centre

Concrete Frame + Steel subframe

248 Raluca Turcu

Governance centre & office

Ancient Agora

Glulam Structure + Timber Frame

249 Julia Wong

Ballet School

Modiano Market

Reinforced Concrete Frame

250 Ching Hang Julian Wong

Interpretation Centre

Makedonomachon Square

Reinforced Concrete Frame

255 Ollie Laity

Land art and sculpture park

Seafront and Birnbeck Island

Natural Stone + Concrete + CLT

256 George Luffingham

Carbon Council

Cultural Quarter

CLT

257 Jake Mace

Eel farm, research and exhibition

Seafront

Reinforced Biocrete + Glulam Portal Frame

258 Jason Sim

Research Centre

Cultural Quarter Seafront

Rammed Earth + Timber Frame +Hempcrete

259 Ross Startin

Reinterpreted Priory

Cultural Quarter, Victoria Methodist Church

Unstabilised Rammed Earth + Timber frame

MARCH ARCHITECTURE | YE AR 6

B AT H A NNU A L T E A M C O - ORDIN AT OR S Meg Marumoto Anadya Kukreja

INDIVIDUAL PROJECT

EDITORIAL Celine Cheung Harriet Dyke Shutong Fan Ryan Hillier Sophie Judson Hania Salem Sebastian Syrjanen Haoxuan Tan Andrew Caws Victoria Guscott Orsi Kapus Alastair Kinnis Kat Popowczak GR APHICS Rebekah Ball Chong Sue Yen Fannia Chung Eve Wheller FINANCE Jack Collins Shreyaa Dada SUPPORT Daniel Wong

264

B A T H

A N N U A L

2 0 2 1

B A T H 2 0 2 1