University of Bath Architecture Annual 2022 by Department of Architecture & Civil Engineering

BATH ANNUAL 2022

ARCHITECTURE ANNUAL

U N I V E R S I T Y O F B AT H

2022

ARCHITECTURE ANNUAL

U N I V E R S I T Y O F B AT H

2022

PUBLISHING

Department of Architecture and Civil Engineering University of Bath Bath BA2 7AY United Kingdom E-mail: ace@bath.ac.uk Telephone: +44 1225 385394 Website: www.bath.ac.uk/departments/department-of-architecture-civilengineering/ 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. Publishers: 8 West, 1.35 University of Bath Bath BA2 7AY United Kingdom

FOREWORD

After nearly two years of working in bedrooms and on kitchen tables, the autumn of 2021 saw a return to the design studios. It goes without saying that those two years were some of the strangest and saddest for everyone. While the impact on architectural education is incomparable to the tremendous disruption and loss around the world, it is nevertheless significant and enduring. Without exception, every student has shown remarkable resilience and resolve to produce the work captured in this book. It makes the quality of the projects even more extraordinary. This book documents the work of the BSc Architecture and MArch degrees. The emphasis is on the work produced by those students in their final years, 4th year and 6th year. Each year includes a group project. For 4th years this is the flagship Happold Foundation Project, a joint endeavour with students of civil engineering. In the 6th year, this is a masterplanning project, set in a diverse range of global cities. Each year concludes with an individual design project in which students can construct their own briefs, informed by their individual architectural interests. The yearbook is made possible by the generosity of our sponsors, the hard work of the year book team and the talent and enthusiasm of the students. It is their passion and commitment to the subject which defines architecture at Bath. Rob Grover

PUBLISHING

FOREWORD

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Paddington Station, Elizabeth Line ©Morleyvon

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@SRA_Architects

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Paddington Station, Elizabeth Line ©Morleyvon

St Vincent Works at Silverthorne Lane, Bristol

Image by AHMM

Morelands 5-23 Old Street London, EC1V 9HL

The Post Building, London

Image by Timothy Soar

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St Vincent Works at Silverthorne Lane, Bristol

Image by AHMM

Morelands 5-23 Old Street London, EC1V 9HL

The Post Building, London

Image by Timothy Soar

PROUD TO SUPPORT BATH UNIVERSITY AGAIN

020 7251 5261 info@ahmm.co.uk www.ahmm.co.uk

TEAM

COVER

Gregor Ferguson

EDITING AND COORDINATION Francesca Wren Juhi Parmar Ru Quan Phuah

CONTENTS

FIRST YEAR

SECOND YEAR

THIRD YEAR

FOURTH YEAR

GRAPHICS

Francesca Wren Gregor Ferguson Polina Pashonina Andreea Dragos

FINANCE

Manolis Chryssanthopoulos With help from Ed Davison Arun Nair

Happold Foundation project Individual Project

FIFTH YEAR

175

SIXTH YEAR

177

Masterplan Individual Project

TEAM

COVER

Gregor Ferguson

EDITING AND COORDINATION Francesca Wren Juhi Parmar Ru Quan Phuah

CONTENTS

FIRST YEAR

SECOND YEAR

THIRD YEAR

FOURTH YEAR

GRAPHICS

Francesca Wren Gregor Ferguson Polina Pashonina Andreea Dragos

FINANCE

Manolis Chryssanthopoulos With help from Ed Davison Arun Nair

Happold Foundation project Individual Project

FIFTH YEAR

175

SIXTH YEAR

177

Masterplan Individual Project

BSC ARCHITECTURE | YEAR 1

YEAR 1

P R O J E C T 1 - L E V I TAT E In response to the gradual receding of the Covid Pandemic (at least politically) and our collective emergence from the confinements of selfisolation and lockdowns, first-year students were invited to reflect on the meaning of ‘Levitation’ and explore the multitude of theories on this curious and wonderful phenomenon, including the associated themes of breaking-free, flight and mysticism. Indeed, the act of levitation, both experienced and witnessed, reveals our innermost desires to break-free from the earth and soar in mind, body, and spirit.

S T U D I O C O O R D I N AT O R : T I M R O LT

SEMESTER 1

Working in small groups of architects and engineers, students were required to design, model, and construct a ‘levitating device’ that expressed the spirit of levitation using a humble pallet of materials - wood, rope, and cloth. As their first foray into architectural design the task invited students to spread their wings, indulge in some blue-sky thinking and soar…..

Image Credits: Group 09, Group 16, Group 20, Group 23, Group 25, Group 29, Group 30 1

BSC ARCHITECTURE | YEAR 1

YEAR 1

S T U D I O C O O R D I N AT O R : T I M R O LT

SEMESTER 1

Image Credits: Group 09, Group 16, Group 20, Group 23, Group 25, Group 29, Group 30 1

BSC ARCHITECTURE | YEAR 1

YEAR 1

PROJECT 1 - MUSIC BOX

PROJECT 2 - ARTISAN

Writer Johann Wolfgang von Goethe is attributed with the origin of the dictum ‘Architecture is frozen Music’

The project explored how architecture has the potential to create environments that can facilitate more sustainable patterns of living and working through the design of a live-work house for a couple engaged in artisan craft work.

Goethe’s statement is especially illuminating when seen in the context of his original conversations with Friedrich Schiller ‘Conversations with Goethe in the Last Years of His Life’ within which Schiller writes: ‘I have found, among my papers a leaf, in which I call architecture frozen music. There is something in that remark; the influence that flows upon us from architecture is like that from music’ Architecture and music have many similarities in the way they invoke powerful emotions in their audience; both are experienced temporally, either through movement or the passage of time, and both utilise ordered compositional techniques as a framework for creativity – such as the delightfully immersive episodic rigor of a Bach fugue or Utzon’s disciplined use of geometry to create the complex forms of the Sydney Opera House. Indeed, it is no surprise that the words used to describe one – light, shade, scale, rhythm, harmony – often have a direct correlation with the other, and it is the creative use of these attributes that give rise to the emotive power inherent in both art forms. With the above in mind, students were invited to design a building in celebration of music and, in doing so, the opportunity to explore the resonant and poetic commonalities between the compositional, experiential, and emotive qualities of music and architecture. Image credits (from top, left to right): Aaron Jones, Antar Ghazoul, Jeniffer Nice, Lucy Speed, Kiki Jirapojaphorn, Hans Yu, Juliette Brery and James Dadd

Whether trapped in poverty, suppressed by inequality, or simply caught on the treadmill of high-pressured or insecure working environments, we appear to be witnessing ever higher levels of stress, anxiety, life-trauma, and other negative impacts to physical and mental health. The root causes of these maladies lay in part with the western world’s socio-economic patterns of living and working, consuming, and travelling, which leave a disconnect between our actions and the impacts they have on our environment and the natural world. Furthermore, our economies are only deemed to be healthy, (and the governments that manage them to be electable!) if they are in a continual state of growth which inevitably leads to a spiral of increasing and unsustainable consumption, energy use, waste, and pollution.

S T U D I O C O O R D I N AT O R : T I M R O LT

SEMESTER 2

The project implicitly suggests a re-alignment of live-work balance, a reconnection with nature and a step away from the often-frenetic pace of modern life through the creation of a ‘home’, or a place to ‘dwell and to be’ within the context of a walled enclosure that forms part of a small islandbased community.

Image credits (from top, left to right): Florence Williams-Rowe, Alexander Whitwell, Edward Law, Antar Ghazoul, Sofia Cheban, James Dadd, James Lansbury and Aoife Carey 4

BSC ARCHITECTURE | YEAR 1

YEAR 1

PROJECT 1 - MUSIC BOX

PROJECT 2 - ARTISAN

Writer Johann Wolfgang von Goethe is attributed with the origin of the dictum ‘Architecture is frozen Music’

S T U D I O C O O R D I N AT O R : T I M R O LT

SEMESTER 2

Image credits (from top, left to right): Florence Williams-Rowe, Alexander Whitwell, Edward Law, Antar Ghazoul, Sofia Cheban, James Dadd, James Lansbury and Aoife Carey 4

BSC ARCHITECTURE | 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.

BSC ARCHITECTURE | YEAR 2

YEAR 2

S T U D I O C O O R D I N AT O R : D O M I N I C TA Y L O R

Context was seen as a major driver for the designs and ‘Response to Context’ was one of the tree ‘Intended Learning Outcomes’. The other two being ‘Responding to a Given Brief’ and ‘Presentation’.

Image credits: Group 4A, James Goodwin, James Gray and Lisa Lynne 5

BSC ARCHITECTURE | YEAR 2

YEAR 2

S T U D I O C O O R D I N AT O R : D O M I N I C TA Y L O R

Image credits: Group 4A, James Goodwin, James Gray and Lisa Lynne 5

PROJECT 1 - CONSENSUS: SYSTEM BOUNDARIES This project asked how creative intervention might lead more sustainable urban environments which challenged traditional urban hierarchies and power. It was a joint project with the Civil Engineering students and lasted four weeks. Students worked in groups: collaborative, crossdisciplinary working was key. Students were asked to design a new pedestrian bridge in Bristol. It formed part of a masterplan for the University of Bristol, panning the Floating Harbour between the Cattle Market and the new Avon Street campus. It was a crucial piece of infrastructure that had to enable coherence and connectivity. The design had to make a positive impact on the city through enhancing community, commerce, recreation and culture. The design needed to contribute to a more sustainable world at local, regional and global scales. Reducing embodied carbon and structural optimisation was of primary importance.

PROJECT 2 - CRITICAL M O V E S : D A N C E , C U LT U R E , ARCHITECTURE Project 2 addressed a range of contemporary social and environmental challenges. It considered how architecture may represent marginalised voices. It dealt with communities and engagement, making an architecture that is of, and for, the public. The brief was to design a new community dance centre. Students could choose the specific client; real or fictional as well as a specific style of dance. Each student also had to include a space of their choosing which was required to respond to the specific social characteristics of their site and complement their dance centre. The project was set in Camden, London and had to respond to its physical and cultural urban contexts. Re- use was a key theme and all sites had existing structures which were engaged with to varying degrees.

S T U D I O C O O R D I N AT O R : R O B G R O V E R

BSC ARCHITECTURE | YEAR 3 S T U D I O C O O R D I N AT O R : R O B G R O V E R

The theme for 3rd Year was critical cultures. We questioned the value systems and pre-conception we bring, as designers, to a project. We asked how do we understand and interpret the historical and cultural context of any given site and project brief? We sought to create artistic, socially engaging and ecologically responsible environments, through generating architectural narratives, or organising principles, that speaks meaningfully to all. Studio 3.1 consisted of two projects: the first set in Bristol, the other in Camden, London.

Image credits: group 1, group 2, group 6, group 17, group 20, group 26, group 29, group 32. 7

BSC ARCHITECTURE | YEAR 3

YEAR 3

Image credits: Lucy Jones, Joel Boyd, Lucy Haggis, Loren Brundrett, Hannah Grumpp, Lucy Marsh, Joyce Lee. 8

S T U D I O C O O R D I N AT O R : R O B G R O V E R

BSC ARCHITECTURE | YEAR 3 S T U D I O C O O R D I N AT O R : R O B G R O V E R

Image credits: group 1, group 2, group 6, group 17, group 20, group 26, group 29, group 32. 7

BSC ARCHITECTURE | YEAR 3

YEAR 3

Image credits: Lucy Jones, Joel Boyd, Lucy Haggis, Loren Brundrett, Hannah Grumpp, Lucy Marsh, Joyce Lee. 8

BSC ARCHITECTURE | YEAR 4 H A P P O L D F O U N D AT I O N P R O J E C T 9

YEAR 4 GROUP PROJECT L O C AT I O N : C A M D E N , L O N D O N This year’s projects were both set in Camden, North London – this year we were all able to visit site, even if a little delayed by covid concerns. TED, sponsored by the Happold Foundation, was entitled Diasporas – referring both to the act and the people(s) who have spread or been dispersed from their homeland. The TED brief also proposed adaptive re-use of a 1930s bus garage, opposite King’s Cross station, to house a museum of migration, and associated uses, thus more prominently promoting the profile of the institution and pertinent issues. For the Individual project, entitled Palimpsest – referring to something reused or altered but still bearing visible traces of its earlier form - each student was able to explore a theme of their choosing anywhere in the borough of Camden ranging from the very top of Hampstead Heath in the north to Lincoln’s Inn Fields in the south and Kilburn Grange Park in the west to Camden Square Park, in the east. These addressed many current issues including the provision of women’s refugees, youth unemployment, mental health and wellbeing facilities and lots besides. A theme throughout was the careful consideration of the use of materials to first reduce their quantity and where they were essential to minimise their carbon footprint. A bounty of projects awaits you! Matthew Wickens 4th Year Co-ordinator

BSC ARCHITECTURE | YEAR 4 H A P P O L D F O U N D AT I O N P R O J E C T 9

BSC ARCHITECTURE | YEAR 4

ECLECTIC

Group 01

Group 02

Holly Evans, William Gravestock, Janet Huang, Nicola Lines, Stephanie Moore, Albin John Mundaplackal, Niamh Quigley

Anoushka Mathur-Fairfield, Felicity Fairclough, Meraaj Harun, Sarah Binesmael, Kristupas Dagilis, Mia Cawthorne

AN EXCHANGE OF KNOWLEDGE, SKILLS AND CRAFTSMANSHIP Trade is the focus of our Migration Museum; the building aims to be a centre dedicated to celebrating the diverse backgrounds of migrants from around the world, focussing on the variety of crafts and skills that people bring with them.

Our theme is intertwined with the structure through creating an expressive timber diagrid as the primary element, thus celebrating trades and craftsmanship literally through the building’s fabric. From the outset we were determined to retain as much of the existing Belgrove House as possible; we believe that, sustainably, less is more and had no justification for demolishing the building and consequently the history associated with it. Therefore, the programme of spaces was determined by the existing floor-ceiling heights. This led us to locate more intimate exhibitions within the existing due to the lower head height, and locate spaces that required more open atmospheres in the extension.

Our scheme began by viewing food as a nonconfrontational way to talk about migration and remove stigma. We were inspired by how food had diversified Britain and created a fusion cuisine. We wanted to provide a space where the community could share their home foods and record how authentic food becomes fusion over the generations. As the building is sited in the Knowledge Quarter, we looked to how the Museum could have a forward-looking approach, that had a local and global outreach: food sustainability. Food migration, caused by the continued loss of arable land, led us to focus on soil health, farming practices and diversifying food crops. The soil structure relies on mycorrhizal fungi. The fungi transports water and nutrients, expanding a plant’s root system, but is damaged in the farming process. We split our building into two, the soil and the foliage – translated through the existing building and the biomes above. The entrance features a mushroom farm, with the above biomes aiming to diversify UK agriculture in the present and future, as climate change will impact the crops we grow.

GROUP 02

GROUP 01

This is achieved in our classrooms, workshops, and language centre, as well as in our permanent and temporary exhibitions.

U S I N G C U LT U R A L D I V E R S I T Y TO ADDRESS FOOD SECURITY

H A P P O L D F O U N D AT I O N P R O J E C T

BSC ARCHITECTURE | YEAR 4

TRADE

The design was determined by the structure. We threaded the new columns within the structural bays of the existing building and we flared the tops to reduce the spans. To visualise how fungi act as network routes, the columns were opened to allow services to run through. This appreciation

BSC ARCHITECTURE | YEAR 4

ECLECTIC

Group 01

Group 02

Holly Evans, William Gravestock, Janet Huang, Nicola Lines, Stephanie Moore, Albin John Mundaplackal, Niamh Quigley

Anoushka Mathur-Fairfield, Felicity Fairclough, Meraaj Harun, Sarah Binesmael, Kristupas Dagilis, Mia Cawthorne

GROUP 02

GROUP 01

This is achieved in our classrooms, workshops, and language centre, as well as in our permanent and temporary exhibitions.

U S I N G C U LT U R A L D I V E R S I T Y TO ADDRESS FOOD SECURITY

H A P P O L D F O U N D AT I O N P R O J E C T

BSC ARCHITECTURE | YEAR 4

TRADE

BSC ARCHITECTURE | YEAR 4

“OBJECTS”

Group 03

Group 04

Francesca Wren, Isabel Atkinson, Emily Jerjian, Emelie Speak, Mike O’Hagan, Naod Kidane, Victor Chujor

Abdelkhaleq Yaghmour, Alex Burrell, Alex Price, Faith Muir, Liliana Prevedello, Rees Miller, Yana Shaban

A MUSICAL CORE

THE COMMUNITY’S CABINET

Music is essential to our collective and personal identities; it is capable of creating a sense of community whilst simultaneously allowing for intimacy and individuality. It is key to our heritage, reflecting our cultural narrative through traditional songs, instruments, and styles.

The heart of our building is a repository for people’s personal belongings where each object displayed comes with a unique story. When moving somewhere else, we often bring back objects that we associate with memories and experiences from home such as a photograph, a piece of clothing, or even a childhood toy. In this way, the museum enables people to relate to multicultural yet universal stories through everyday possessions.

The central musical core has allowed us to create a variety of performance spaces; it includes a professional and acoustically refined auditorium, a flexible and landscaped ground floor space and a lively rooftop performance and bar area. This offers different kinds of interaction and expression. Through peeling back floor structure with voids and structural glass, the core appears as a separate structural entity and glows across the exhibition spaces. Our dynamic façade is considerate of its context, and reflects the internal layout and functions of the structure. The change in material for the central block defines the beacon within.

From a macro to micro scale our building is based on the theme of objects. At the front of our building the Cabinet acts as the main object, while the boxes in the back atrium break down into smaller scale spaces that host meeting rooms and exhibitions. Therefore, extrusions and intrusions form positive and negative spaces that create interactions on all scales. We aim to provide a space that allows for introspective reflections as well as a shared experiences. This will be achieved through research labs serviced by social history and anthropology specialists from UCL. This will allow people to learn about personal objects of their culture and beyond. Overall, the museum will aim to promote discussions and interactions between people of different backgrounds.

GROUP 04

GROUP 03

Placing music at the heart of our design felt the most appropriate way for individuals to learn, share and express themselves in the Migration Museum.

H A P P O L D F O U N D AT I O N P R O J E C T

BSC ARCHITECTURE | YEAR 4

CRESCENDO

BSC ARCHITECTURE | YEAR 4

“OBJECTS”

Group 03

Group 04

Francesca Wren, Isabel Atkinson, Emily Jerjian, Emelie Speak, Mike O’Hagan, Naod Kidane, Victor Chujor

Abdelkhaleq Yaghmour, Alex Burrell, Alex Price, Faith Muir, Liliana Prevedello, Rees Miller, Yana Shaban

A MUSICAL CORE

THE COMMUNITY’S CABINET

GROUP 04

GROUP 03

Placing music at the heart of our design felt the most appropriate way for individuals to learn, share and express themselves in the Migration Museum.

H A P P O L D F O U N D AT I O N P R O J E C T

BSC ARCHITECTURE | YEAR 4

CRESCENDO

BSC ARCHITECTURE | YEAR 4

CONNECTION

Group 05

Group 06

Alexander Daniel, Nicholas Ratcliffe, Matthew Smale, Georgina White

Cookkie Yang, Wenjun Wei, Xiaoqi Zhang, Yue Ying, Adrian Lau, Kay Lo 04

M I G R AT I O N , C O M M U N I C AT I O N A N D T H E EXCHANGE OF KNOWLEDGE Information is shared by the movement of people; people migrate and knowledge is passed on over time. Interactions between individuals within a community transfer information and improves society. The proposal will provide a suitable home for the migration museum, defined by this explicit link between migration patterns, communication and education.

Internal spaces combine to promote all types of communication: introspective with oneself; one to one; one to many; and many to many. These categories have individually defined all spaces within the building. Movement within a large ground floor lobby, off a defined public realm, draws users into the building and up through a large atrium space. The alternating geometry of the void dictates the building circulation and the user’s journey through the ascending exhibitions, library and education spaces. This circulation space intends to bring occupants together in the centre of the plan. The movement of people on other floors can be seen through a veil of delicate cables and in adjacent double height breakout spaces.

-01

The Migration Museum aims to connect different social groups. It is a place to explore the migration history, learn about the migration issues and interact with people from various backgrounds. Following the clues of ‘who we are’, ‘where we are from’ and ‘where we are going’, the Migration Museum ascends in the order of temporary interactive exhibition, permanent immersive exhibition, library on extensive migration-theme archives, and a help centre offering support to individuals. These functions are connected by an external disabled-accessible staircase. The staircase follows the sun-path, making it abundant in greenery, a place for daily enjoyment of nature. While the green staircase connects to Argyle Square at the South, the terracotta façade links to the red brick of the St. Pancras Station at the North. The museum forms an important transition from quiet street blocks to busier ones. The connection between the existing concrete structure, new CLT and glulam in internal spaces and steel on the staircase keep the embodied carbon below the LETI 2030 target. The incorporation of renewable energy for MEP services, makes it sustainable in operation. The Migration Museum leads to a sustainable future, in the use of materials and energy, in the help it provides to the vulnerable, and most significantly in the inclusive experience it offers to all.

GROUP 06

GROUP 05

The building will act as a facilitator for the exchange of knowledge and information; a space to encourage conversation and storytelling.

H A P P O L D F O U N D AT I O N P R O J E C T

BSC ARCHITECTURE | YEAR 4

EXCHANGE

BSC ARCHITECTURE | YEAR 4

CONNECTION

Group 05

Group 06

Alexander Daniel, Nicholas Ratcliffe, Matthew Smale, Georgina White

Cookkie Yang, Wenjun Wei, Xiaoqi Zhang, Yue Ying, Adrian Lau, Kay Lo 04

-01

GROUP 06

GROUP 05

The building will act as a facilitator for the exchange of knowledge and information; a space to encourage conversation and storytelling.

H A P P O L D F O U N D AT I O N P R O J E C T

BSC ARCHITECTURE | YEAR 4

EXCHANGE

h Lau

Chak Man

Newbury BSC ARCHITECTURE | YEAR 4

BSC ARCHITECTURE | YEAR 4

pperell

Group 08 Rooms of One’s Own

up 08 ms of One’s Own Dymitr Ignatiuk Balint Kerekes Kenneth Lau Kwan-Chak Man Colton Newbury

ROOMS OF ONE’S OWN

Ella Pepperell

Group 07

Group 08

Alex French, Marta Garcia-Hernansanz, Owen Gillett, Joe Houghton, Elliot Judd, Henry Myers, Joe Westhead

Dymitry Ignatiuk, Balint Kerekes, Kenneth Lau, Kwan-Chak Man, Colton Newbury, Ella Pepperell

Group 08 Rooms of One’s Own

‘ T H E R O O M I S T H E T H E AT R E I N W H I C H T H E ‘ I N D I V I D U A L’ H A S S L O W LY E M E R G E D ; A SPACE IN WHICH ONE COMES TO TERMS WITH THE S TAT U T E S O F B E I N G A M O N G OT HER S ’.

C O L L A B O R AT I V E INFRASTRUCTURE The Migration Museum, and associated Migration Network, see themselves as storytellers and educators, responsible for engaging a wide audience with issues of migration.

GROUP 07

he ‘individual’ has emerged; a space in The self assigned portion of the brief aims to one comesprovide to terms a co-working space for like-minded e statutes innovators of being and creatives to meet and collaborate. others’. The museum is structured to enable a smooth transition from working to social activities, incorporating a social programme that stimulates

to traditional institutions found in discussion and don, our project proposes an open andinterdisciplinary cross-pollination a number of mixed-use, adaptable workspaces. hical approach toin place making, that he city’s diverse communities. The ceived through bringing the existing trinsic qualities to the forefront, Exhibition art, music and drama not as finiteareas will incorporate displays for as mediums for cultural exchange. both local and national stories of migration and

integrated co-working studios can assist in the histories.

on is opened to the surrounding recording of connected through the introduction of ‘internal alators carry people up to our new tion, where they are greeted by an truss.

ing1a 7fixed infrastructure that s structure and services as a cohesive rtition system can be created that mum flexibility for the users of the

slowly emerged; a space in Theone exhibition which comesistoopened terms to the surrounding through the introduction of ‘internal withstreetscape the statutes of being streets’. Escalators carry people up to our new among others’. timber addition, where they are greeted by an inhabitable truss.

As opposed to traditional institutions found in central London, our project proposes an open and non-hierarchical approach to place making, that By establishing a fixed infrastructure that represents the city’s diverse communities. The design, conceived throughstructure bringing the existing incorporates and services as a cohesive building’s intrinsic qualities to the forefront, whole, a partition system can be created that focuses on art, music and drama not as finite entities but as mediums for cultural exchange. for the users of the allows maximum flexibility

building to appropriate the layout of space. The The exhibition is opened to the surrounding streetscape through the introduction of ‘internal façade is characterized by an external canopy streets’. Escalators carry people up to our new system which theby users to control shading, timber addition, where theyallows are greeted an inhabitable truss.and views, creating a shimmering surface privacy that changes with the time of By establishing a fixed infrastructure that incorporates structure and services as a cohesive whole, a partition system can be created that allows maximum flexibility for the users of the building to appropriate the layout of space. The façade is characterized by an external canopy system which allows the users to control shading, privacy and views, creating a shimmering surface that changes with the time of day and year.

As opposed to traditional institutions found in central London, our project proposes an open and non-hierarchical approach to place making, that represents the city’s diverse communities. The design, conceived through bringing the existing building’s intrinsic qualities to the forefront, focuses on art, music and drama not as finite entities but as mediums for cultural exchange. The exhibition is opened to the surrounding streetscape through the introduction of ‘internal streets’. Escalators carry people up to our new timber addition, where they are greeted by an inhabitable truss. By establishing a fixed infrastructure that incorporates structure and services as a cohesive whole, a partition system can be created that allows maximum flexibility for the users of the building to appropriate the layout of space. The façade is characterized by an external canopy system which allows the users to control shading, privacy and views, creating a shimmering surface that changes with the time of day and year.

GROUP 08

Its new home looks to replicate some of the most beneficial elements of its current location in Lewisham, where the museum is able to attract passers-by in an area of high footfall. The additional purpose of the new museum as a co-working community hub will serve as a similarly vibrant attraction in its elevated position om is the theatre in King’s Cross. overlooking

‘The room is the theatre in which the ‘individual’ has slowly emerged; a space in which one comes to terms with the statutes of being among others’.

H A P P O L D F O U N D AT I O N P R O J E C T

EXCHANGE

day and year.

h Lau

Chak Man

Newbury BSC ARCHITECTURE | YEAR 4

BSC ARCHITECTURE | YEAR 4

pperell

Group 08 Rooms of One’s Own

up 08 ms of One’s Own Dymitr Ignatiuk Balint Kerekes Kenneth Lau Kwan-Chak Man Colton Newbury

ROOMS OF ONE’S OWN

Ella Pepperell

Group 07

Group 08

Alex French, Marta Garcia-Hernansanz, Owen Gillett, Joe Houghton, Elliot Judd, Henry Myers, Joe Westhead

Dymitry Ignatiuk, Balint Kerekes, Kenneth Lau, Kwan-Chak Man, Colton Newbury, Ella Pepperell

Group 08 Rooms of One’s Own

GROUP 07

integrated co-working studios can assist in the histories.

on is opened to the surrounding recording of connected through the introduction of ‘internal alators carry people up to our new tion, where they are greeted by an truss.

ing1a 7fixed infrastructure that s structure and services as a cohesive rtition system can be created that mum flexibility for the users of the

GROUP 08

‘The room is the theatre in which the ‘individual’ has slowly emerged; a space in which one comes to terms with the statutes of being among others’.

H A P P O L D F O U N D AT I O N P R O J E C T

EXCHANGE

day and year.

BSC ARCHITECTURE | YEAR 4 H A P P O L D F O U N D AT I O N P R O J E C T

STORY TELLING

Group 09

Group 10

Changyi (Sherry) Li, Xinran (Iris) Guo, Yiting (Alice) Sun, Asher Hudson, Derrick Lee, Pablo Sainz Ribera

Mashal Afzal, Noa Bashan, Tanya Chiganze, Johnson Kubelabo, Qinwen Lu, Ellie Parsons

SPORTS BRING US TOGETHER

The museum is constructed above the existing concrete structure of the original building, with the most part of the facades retained for conservation purpose. The higher floors were aimed for a light-weight structure of steel columns, glulam beams and CLT floors. To emphasize the idea of integrating the old and the new, new red bricks and modern materials like copper panels and translucent channel glass are chosen.

MAKE. STORE. SHARE. The building design and resolution revolves araound the core narrative of storytelling. The notion supports the idea that every migrant and individual has a story to share and this building gives them the platform to do so. The organisation block, housed in the south part of the building, is a home for migrants to come and engage with eachother through shared interests of art and cultures, essentially where stories are being made. The heart of the design lies in the archive core. It os central and continuous throughout the plan of the design. The stories are being told in the exhibition spaces which circulate continuously around the archive core, to create a spatial, visual and physical connection to the archive heart at all times. The circulation and journey through the temporary and permanent exhibitions follows the narrative of a common storybook, beginning with general context, rising to climax and ending with a resolution, such that the building as a whole is read as part of a bigger story.

GROUP 10

As a non-verbal language shared by everyone, sport breaks the boundary of identity and nation, and connects us all. The aim of this project was to use sport as a media to bring people together for an inclusive and tolerant social environment, as well as to sustain the ethos of education from the original migration museum. The museum space contain educational spaces such as workshop and activity rooms, and the display content is centered on the theme of sports, including various sizes of sports and activity courts throughout each level. A large roof terrace with landscaping and outdoor pitches is also created to encourage outdoor exercise.

H A P P O L D F O U N D AT I O N P R O J E C T

GROUP 09

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INTERACTION

The museum aims to be a place for all, welcoming people with diverse backgrounds to come and learn, and to get connected through sports and activities.

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STORY TELLING

Group 09

Group 10

Changyi (Sherry) Li, Xinran (Iris) Guo, Yiting (Alice) Sun, Asher Hudson, Derrick Lee, Pablo Sainz Ribera

Mashal Afzal, Noa Bashan, Tanya Chiganze, Johnson Kubelabo, Qinwen Lu, Ellie Parsons

SPORTS BRING US TOGETHER

GROUP 10

H A P P O L D F O U N D AT I O N P R O J E C T

GROUP 09

BSC ARCHITECTURE | YEAR 4

INTERACTION

The museum aims to be a place for all, welcoming people with diverse backgrounds to come and learn, and to get connected through sports and activities.

BSC ARCHITECTURE | YEAR 4 H A P P O L D F O U N D AT I O N P R O J E C T

ARTEFAC T

Group 11

Group 12

Jenna Bailey, Valeria Bykova, Julien Fromentin, Max Garnett, Saorla Hanley, Darren McGaghey, Victoria Yeh

Olivia Van Wersch, Max Bowden, Louis Bartlett, Oasis Mignot, Fernando de la Infiesta, Matt Gibson, Kiran Torres

MUSIC IS A MIGRANT

C U LT U R A L ENGAGEMENT THROUGH MAKING

There is nothing that connects people from different backgrounds, cultures and ages and capture pure emotion quite like music can. It binds us together as a global community, breaking down stereotypes and cultural differences.

When people move from their origin country to settle in a new place, many often travel without belongings or material possessions. What can’t be taken away from them are their skills and their cultural traditions.

The design is welcoming, light and transparent in its function. A large central atrium provides a busking space and connects the floors spatially, visually and acoustically, letting music permeate the building. The southernmost terrace is a large music hall, thematically placed where the stepping form changes directions, with music rooms for the public at the apex. Cadenza showcases the world’s extraordinary cultures, nurturing relationships and uniting communities.

Artefact aims to enable, recognize and celebrate the making of migrant crafts by becoming a place where people from all over the world converge to celebrate a common piece of their identity, whilst finding pride in their cultural diversity. An embedded terracotta archive holding historical textiles and ceramics from around the world sits at the heart of the building. As objects are made in public workshops on either end of the scheme, they move into temporary exhibitions and eventually into the archive. In 100 years time the objects might make their way into the museum, concluding their journey within the building.

GROUP 12

Cadenza encourages the public to share their stories through music and sound. Many cannot fully express themselves due to language barriers, leading to exclusion, loneliness and isolation. Recording rooms and performance spaces varying in size and acoustic quality allow people to share their emotions and experiences, collaborate and produce something incredible no matter where they come from.

H A P P O L D F O U N D AT I O N P R O J E C T

GROUP 11

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CADENZA

Threaded voids normalise the displacement of people and objects, whilst also regulating light, sound and air in the building. Meanwhile, a lightweight perforated copper wrapping is a nod to historic materials of the railway and jewellery makers in the local area of Clerkenwell.

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ARTEFAC T

Group 11

Group 12

Jenna Bailey, Valeria Bykova, Julien Fromentin, Max Garnett, Saorla Hanley, Darren McGaghey, Victoria Yeh

Olivia Van Wersch, Max Bowden, Louis Bartlett, Oasis Mignot, Fernando de la Infiesta, Matt Gibson, Kiran Torres

MUSIC IS A MIGRANT

C U LT U R A L ENGAGEMENT THROUGH MAKING

GROUP 12

H A P P O L D F O U N D AT I O N P R O J E C T

GROUP 11

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CADENZA

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LOST & FOUND

Abdullah Imran, Ema Ziya, Heidi Ng, Jakub Konopka, Aniong Kufre-Ekanem, Jessica Joseph, Oscar Tsay

M I G R AT I O N A R T M U S E U M

The building’s architecture and exhibition layout were informed by the concept of Lost & Found, a notion that stems from varying experiences, feelings, and emotions an individual migrant can experience. The Lost spaces depict the feelings of confusion, struggle, conflict, and disorientation; Found spaces depict feelings of tranquillity, motivation, encouragement, and resolve. Finally, the scheme aims to celebrate the making of the art through our carefully considered Migration Museum Social Scheme (MMSS) that invites migrant artists from all over the UK to share their experiences as migrants through visual and performance art in our specially designed workshops that are allocated at different floors across the building.

Angus Benstead, Mimi Burt, Adam Clifford, Nicole Johnson James Farrar, Toby Rhodes, Tommy Wadsworth

A FOCUS ON LANGUAGE We discovered from our early research that one of the key issues facing migrants in the UK is the language barrier, which has a drastic impact on their job opportunities, education quality and social mobility. To address this, we decided to provide a language school in our scheme to serve the diverse local community. Our exhibition provision also focuses on the various other forms language can take: film, art, dance, music and spoken word. A key element of both our design and sustainability strategy was the retention of the existing building, with a lightweight timber structure seemingly ‘floating’ above. The roof of this extension derived from our desire to harness northern light for our top floor art exhibition spaces, as well as the seamless connection of the three building masses: exhibition space, atrium and front tower.

G R O U P 14

GROUP 13

The museum aims to create a space where people can come together to reflect, share, explore and have conversations about migration. The exhibitions explore the history of migration in Britain through immersive and interactive mediums and a strong focus on personal stories.

Group 14 H A P P O L D F O U N D AT I O N P R O J E C T

H A P P O L D F O U N D AT I O N P R O J E C T

Group 13

LINGUA

The atrium is the heart of the scheme and acts as the circulatory hub, housing the building’s entrance, reception, feature staircase, walkways and informal auditorium. It is also the point where all our structural materials are celebrated.

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LOST & FOUND

Abdullah Imran, Ema Ziya, Heidi Ng, Jakub Konopka, Aniong Kufre-Ekanem, Jessica Joseph, Oscar Tsay

M I G R AT I O N A R T M U S E U M

Angus Benstead, Mimi Burt, Adam Clifford, Nicole Johnson James Farrar, Toby Rhodes, Tommy Wadsworth

G R O U P 14

GROUP 13

Group 14 H A P P O L D F O U N D AT I O N P R O J E C T

H A P P O L D F O U N D AT I O N P R O J E C T

Group 13

LINGUA

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NEW --->

< --- OLD

TRANSIT

GROUP 15

ION

TITY

AGE

T HIB

POST

AGE

EX EN

EET

STR

KALEIDOSCOPE Group 16 Alice Smith, Eleanor Hyde, Ethan Perry, Maria Juszczyk, Matthew Lewis, Raymond Windsor, Siya Kulkarni

PA S T - TR ANSIT - FU T URE

DIVERIST Y & DIALOGUE

Our Museum of Migration will be a place for people of all walks of life to gather, learn and reflect on the journeys and stories experienced by migrants. Stories of the past and hopes of the future within the journey of migration is portrayed in the three separate spans of the building. A conventional structure is used in the vertical extension of the existing frame, and an optimised truss structure is used in the new larger span. Users can appreciate the thresholds at one single moment at the atrium.

London is a multicultural kaleidoscope - an ever evolving instrument of diversity and dialogue.

The post office is the transition. The distance associated with migration creates the need for tangible connections for goods and stories through letters, messages and parcels. Each level of the stepped post office has its function that corresponds and links the double- and tripleheight spaces. The post office was physically connecting the bays on both sides, acting as a physical glue. Constant movement and moments of interaction will take place on these steps as the different users of the museum cross paths with each other.

The scheme embodies ‘kaleidoscope.’ Each individual sees a unique image of life, created by the lenses of our past, present, culture and tradition. The kaleidoscope works by rotating small, unique shapes which interact and together create a celebration of beauty that is constantly changing. No two people see the same image. The Migration Museum consists of multiple exhibition ‘lenses’ situated around a dynamic atrium that grows outwards; the atrium becomes a central place for chance encounter and connection. Structurally, a tiered cantilever and colourful tension ties liberate the kaleidoscope as an elegant void. A state of the art theatre complex is included to facilitate partnership with Migrants in Theatre. Theatre is a medium of story telling and a stage for dialogue.

GRO UP 16

Florence Bennett, Kari Ka-Yuet Lam, Hera Ching Lui, Luke Oxley, Daisy Tsz Ying Shum, Alison Yu

TIN

IDEN POST

H A P P O L D F O U N D AT I O N P R O J E C T

Group 15

WRI

RY RA LIB ITIONN IB TION EXHECEEXPHIBITIO

Standing in solidarity with migrants far and wide, the museum responds to sustainable challenges; a light-weight, low carbon structure has been designed for disassembly from a kit of parts. Our innovative scheme to recover waste heat from the TFL Victoria Tube line minimises resource consumption for a sustainable future.

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NEW --->

< --- OLD

TRANSIT

GROUP 15

ION

TITY

AGE

T HIB

POST

AGE

EX EN

EET

STR

KALEIDOSCOPE Group 16 Alice Smith, Eleanor Hyde, Ethan Perry, Maria Juszczyk, Matthew Lewis, Raymond Windsor, Siya Kulkarni

PA S T - TR ANSIT - FU T URE

DIVERIST Y & DIALOGUE

London is a multicultural kaleidoscope - an ever evolving instrument of diversity and dialogue.

GRO UP 16

Florence Bennett, Kari Ka-Yuet Lam, Hera Ching Lui, Luke Oxley, Daisy Tsz Ying Shum, Alison Yu

TIN

IDEN POST

H A P P O L D F O U N D AT I O N P R O J E C T

Group 15

WRI

RY RA LIB ITIONN IB TION EXHECEEXPHIBITIO

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MACHU PICCHU

Group 17

Group 18

Polina Pashonina, Emmanuel Chryssanthopoulos, Daniela Mishieva, Kamil Kopycki, Jack Lawrie, William Fenton, Matthew Clark

Rosanna Bacon, Eu Xuen Chai, Jane Ng, Ilakya Srikusan, Chris Harwood, Dan Haws, Bertie Sharp

A CHANCE TO MAKE STORIES HEARD.

Given the fluid opinions over the last two decades of the popular press, a truly national Migration Museum must take on an active role in educating the public at all ages. Through the softly glowing milky glass Print House that intersects into the light-filled, and bustling green atrium, the museum and its partners will produce a monthly magazine that will collate stories collected from events, performances, and museum spaces. This publication will then be distributed through the local railways across the country, thus generating both a public interest in the museum but also engaging the wider public. The process of production is celebrated across the proposal: internally the glazed corridor through the print house exhibits the vibrant and colourful pages of stories shuffling along the conveyor belt. Having studied the structural grid of the existing building, noticing the uneven column placing as well as variety of different beams and floor heights, the irregular logically derived Voronoi facilitated the phased construction of the structure as well as the columnless spaces required within the temporary exhibition.

GROWING TOGETHER Over the past 300 years, a wide variety of food has been introduced to Britain through trade, migration and colonialism. Our design aims to educate the local community about where their food came from. Reconnecting people with the food production process can open new perspectives, create conversation and celebrate the contribution of migration. Therefore, our group has decided to introduce urban farms, a food market and several food-related exhibitions into the new Migration Museum. The ground floor food hall enlivens the surrounding streets and draws in visitors. Meanwhile, the urban farm spreads across multiple floors, interacting with various exhibition spaces to create an engaging experience. In addition to supporting immigrants and promoting cultural exchange, self-sufficiency is also one of our main objectives. Our environmental strategies include minimising food outsourcing, composting in-house garden and food waste, rainwater harvesting, operating with optimum natural ventilation/ lighting and using the existing structural grid.

GROUP 18

G R O U P 17

“Where does the public get their ideas about migration from?”

H A P P O L D F O U N D AT I O N P R O J E C T

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M I G R AT I O N M U S E U M A N D PRINT HOUSE

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MACHU PICCHU

Group 17

Group 18

Polina Pashonina, Emmanuel Chryssanthopoulos, Daniela Mishieva, Kamil Kopycki, Jack Lawrie, William Fenton, Matthew Clark

Rosanna Bacon, Eu Xuen Chai, Jane Ng, Ilakya Srikusan, Chris Harwood, Dan Haws, Bertie Sharp

A CHANCE TO MAKE STORIES HEARD.

GROUP 18

G R O U P 17

“Where does the public get their ideas about migration from?”

H A P P O L D F O U N D AT I O N P R O J E C T

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M I G R AT I O N M U S E U M A N D PRINT HOUSE

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TA R D I S

Group 19

Group 20

Dominic Alstead, Finlay Hyde, Andrew Bennett, Dan Zhou, Molly Funge, Tom Robinson

Juhi Parmar, Parnika Madan, Kyale Mwendwa, Elijah Morales, Ieuan Alderson, James Ambler

A M O N U M E N TA L J O U R N E Y

PA S T / PRESENT /FU T URE

The Migration Museum accommodates the journeys of millions of Migrants and tells their stories in an interactive and stimulating series of exhibitions. Passageway invites people from all walks of life to come and explore what the museum has to offer. Boasting a generous community offering on the ground floor of the building, independent start-up businesses will bring, before unrealised, life to Crestfield street. Belgrove Street will benefit from a large open multicultural food market presenting as a celebration of the variety of food available due to migration in Britain.

The museum is comprised of 3 blocks - PAST, PRESENT, and FUTURE. The story of migration in the UK is told chronologically through this concept. For example, a library is the study of the past; the temporary exhibition in the ‘PRESENT’ block is based on current events; and wellbeing/ counselling services are used to build a better future. These 3 blocks are connected by a central circulation zone which houses the feature stair and a set of elevators. The architecture and structural design are interlinked as the concept of PAST, PRESENT, and FUTURE is also articulated through a change in structural materials within the building. A posttensioned (PT) CLT slab hybrid and concrete columns have been used for the PAST and PRESENT. On the other hand, FUTURE has a lighter, timber structure.

GROUP 20

The passageway through the building connects all spaces with a series of cascading staircases. Exit the passageway through one of the upper archways and you will find yourself in a suspended structure floating above the historic building below. The exhibition spaces have been designed to allow for a changing environment. With movable partitions, the spaces can be shaped into whatever best serves each exhibition. External walkways on the East and West facades provide an opportunity for reflection whilst exploring the exhibitions as well as benefitting from stunning views over the surrounding conservation areas.

H A P P O L D F O U N D AT I O N P R O J E C T

GROUP 19

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PA S S A G E WAY

Each form has a different facade material - PAST is clad in Limestone; PRESENT is clad in Zinc; and ‘FUTURE’ is clad in recycled Polycarbonate. We have a series of stepped terraces complementing Argyle Square. This reintroduces nature into the urban realm.

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TA R D I S

Group 19

Group 20

Dominic Alstead, Finlay Hyde, Andrew Bennett, Dan Zhou, Molly Funge, Tom Robinson

Juhi Parmar, Parnika Madan, Kyale Mwendwa, Elijah Morales, Ieuan Alderson, James Ambler

A M O N U M E N TA L J O U R N E Y

PA S T / PRESENT /FU T URE

GROUP 20

H A P P O L D F O U N D AT I O N P R O J E C T

GROUP 19

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PA S S A G E WAY

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P L AY

BOUNDARIES

Group 21

Group 22

Filip Dabrowski, Kitae Kim, Matthew Pembery, Nina Leggett, Sam Wright, Teresa Pulk, Zoe Maundrill

Mahika Goel, Akul Talwar, Da Ruey Chiam, James Burkhalter, Alexander Bevan, Anna Alderson, Brandon Reyes Rodriguez

CARE

M I G R AT I O N & B O U N D A R I E S

The focus of our scheme was on migrant parents and child care. Specifically within migrant families, more complex daily routines caused by societal barriers for migrants, reduce access to education and a work-life balance. We therefore wanted to provide an after school care center combined with a nursery as an additional function of the Migration Museum.

Our core concept revolves around the Permeation of Boundaries.

Play is an essential element of our project since it is important for a child’s development and well-being. Interior and exterior playgrounds are scattered around the building. The vertical plaza, an exterior public structure that sits at the front of the building as an individual entity with its own circulation and opening times, contains an urban playground through three stories. The exhibition of the Migration Museum centers around the theme of play, family and identity, connecting the museum to the care center and play.

Throughout the building, we played with the boundaries, pushing and pulling them to formulate our spaces.

The scheme looks at the topic of migration in a more cheerful and celebratory way, focusing on the future generation through its care of children.

Exhibition

H A P P O L D F O U N D AT I O N P R O J E C T

Formulated by looking at the process of migration, we focused into the site from a global perspective, exploring the boundaries scale from macro-to-micro. While imagining the boundary chronologically; their types, permeability, interactions and how they were shaped by movement.

Physically, this is reflected in the vertical language between spaces; with voids, transitions, volumetric scale and materials becomings a vocabulary for our intervention. We classified spaces into 3 zones:

Experience

Integration Archive

GROUP 22

GROUP 21

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play

Education Library

Glazed street

Public Realm

Auditoriums

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P L AY

BOUNDARIES

Group 21

Group 22

Filip Dabrowski, Kitae Kim, Matthew Pembery, Nina Leggett, Sam Wright, Teresa Pulk, Zoe Maundrill

Mahika Goel, Akul Talwar, Da Ruey Chiam, James Burkhalter, Alexander Bevan, Anna Alderson, Brandon Reyes Rodriguez

CARE

M I G R AT I O N & B O U N D A R I E S

Our core concept revolves around the Permeation of Boundaries.

Throughout the building, we played with the boundaries, pushing and pulling them to formulate our spaces.

The scheme looks at the topic of migration in a more cheerful and celebratory way, focusing on the future generation through its care of children.

Exhibition

H A P P O L D F O U N D AT I O N P R O J E C T

Experience

Integration Archive

GROUP 22

GROUP 21

BSC ARCHITECTURE | YEAR 4

play

Education Library

Glazed street

Public Realm

Auditoriums

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FREEDOM OF MOVEMENT

Group 23

Group 24

Alice Kerry, Cormac Miller, Eva Solt, John Swiss, Morgan Davies, Pearson Brown, Sarah Baigent

Ella Bowen, Ella Harding, Nicola Maclean, Suki Fong, Godfrey Wong, Arthur Li, Anthony O’Connor

TOGETHERNESS THROUGH CONTRAST

As the visitors climb through the building, the audience of each storey grows until they reach a global audience in the radio station. The space protrudes through the roof, symbolically mirroring the intimate auditorium that pushes itself through the floor of the original building. The Migration Museum is actively working to reach the widest audience possible to bring about a societal change of opinion. Amplify responds to this through the architecture, the engineering, and the radio station. It is a place for silenced voices to be heard, hostility to be quashed, and lives to be celebrated. It is a place for courage.

M I G R AT I O N M U S E U M Our aim was to create a museum that responded to the needs of the local community as well as refugees and migrants in the area. We did this by providing a building accessible to all - including a completely open food hall on the ground floor which provides jobs for the local community. Additionally, we included spaces for local refugee charities and organisations so they have a place to work and grow. A key aspect of our scheme was it’s environmental impact. We wanted to create a completely sustainable building as far as possible, from the material choices to the daily operation. We ambitiously proposed a timber structure for our building, to limit embodied carbon. The museum is also supplied by renewable energy sources, including both a ground and air source heat pump and PV panels on the roof.

G R O U P 24

Amplify celebrates migration and confronts prejudice through storytelling. The Migration Museum will stand to record, promote, and amplify suppressed voices through its exhibits and architecture. The design of the building embodies the dual themes of old and new, heaviness and lightness, and permanence and ephemerality. The denser and more intimate spaces are situated in the original building, and the open spaces exist in the extension. This is a building of contrasts unified by its structure. Each floor is designed around a repeating structural grid and anchored on a central atrium. The extension hangs over the old building from a truss, leaving a space between the masses as an outdoor, celebratory terrace to host worldwide festivals and gatherings.

H A P P O L D F O U N D AT I O N P R O J E C T

GROUP 23

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AMPLIFY

Freedom of movement was the driving force behind this design, this influenced our circulation strategy including the statement atrium which provides fluidity of movement throughout the whole building. The atrium also provides the building with sufficient natural lighting, to reduce our artificial lighting demands - contributing to a low carbon scheme.

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FREEDOM OF MOVEMENT

Group 23

Group 24

Alice Kerry, Cormac Miller, Eva Solt, John Swiss, Morgan Davies, Pearson Brown, Sarah Baigent

Ella Bowen, Ella Harding, Nicola Maclean, Suki Fong, Godfrey Wong, Arthur Li, Anthony O’Connor

TOGETHERNESS THROUGH CONTRAST

G R O U P 24

H A P P O L D F O U N D AT I O N P R O J E C T

GROUP 23

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AMPLIFY

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A TA S T E O F H O M E

Group 25

Group 26

Pallavi Achanta, Chrissy Cheung, Juliette Moutin, Junsoo Pak, Daniel Pambakian, Indra Peachey, Rhys Phillips

Alex Whitfield, Emily Onagoruwa, Lois Weedon and Ryan Birch

JOINING PEOPLE & M I G R AT I O N

A timber gridshell roof encapsulates a columnless top exhibition floor, skylit with an arrangement of ETFE infills. It dips above an illuminated atrium, within which a smaller dome seals the space of a basement food court. Directly accessible from the Piccadilly Line, this floor allows a wider diversity of users to experience and view throughout the building’s spaces. The roof seamlessly curves downwards to become the facade of Argyle Square park behind, with the hope that the two spaces may merge in the future as more streets of London become pedestrianised. By both structure and nature of exhibition space, the enclosed and restrictive nature of the existing storage building is gradually broken free at each ascending floor. From solid walls to moving walls and expansive space, we envision the experience of the migrant to be replicated from terminal to home, neighbourhood and place.

A PUBLIC DINING ROOM The discussion concerning the topic of migration is often impersonal and disregards individuality. Our design considers food as a deeply personal and universal subject for all. The indisputable benefit of migration on London’s food scene also drove us to this theme which runs throughout our design – from recipe swapping to immersive exhibitions to newly developed bio-based materials being used in the very fabric of the building. Food’s ability to unite a disparate community is celebrated in our covered market which continues London’s tradition for markets with a unique and truly public space. Over half of the site is dedicated to this double height, outdoor piazza which captures passing footfall from across Euston Road and offers a grandiose new street leading from the tube through exhibitions directly to the heart of our museum. It is complimented above by immersive exhibitions and a world herb garden.

GROUP 26

GROUP 25

Migration brings up the images of different identities coming together, which point to organic forms. Our building has its highest point facing Euston Road - an eye-catching entrance funnelling visitors inwards with haunches and inclining exposed soffit floors.

H A P P O L D F O U N D AT I O N P R O J E C T

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CONFLUENCE

The building is futureproofed through a permanent, semi-permanent and transitory ‘kit of parts’ which can adapt for a weekly change of exhibition, or a generational change of programme. Even the thermal line is im-permanent. This ever-changing series of spaces offers no barriers but rather welcomes the community and encourages interaction and sharing.

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A TA S T E O F H O M E

Group 25

Group 26

Pallavi Achanta, Chrissy Cheung, Juliette Moutin, Junsoo Pak, Daniel Pambakian, Indra Peachey, Rhys Phillips

Alex Whitfield, Emily Onagoruwa, Lois Weedon and Ryan Birch

JOINING PEOPLE & M I G R AT I O N

GROUP 26

GROUP 25

H A P P O L D F O U N D AT I O N P R O J E C T

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CONFLUENCE

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CH’IIL

[this is a sample layout, max 8 images]

Group 27

Group 28

Oriele Grigg, Eric Chan, Nuria Yagoubi, Hasib Rajput, Roberto Cellek, Max Chan, William Cheng

Frederica Brito e Cunha, Gregor Ferguson, Ed Davison, Arun Nair

TRANQUILITY AMONGST WAT E R

BELGROVE HOUSE

Ch’iil is an inclusive place, educating visitors on migration with a focus on the importance of mental health. Shrouded in twisted Corten louvres, it provides a safe space within a busy area of London.

We want to bring poeple together through art and making. By exploring existing skills, crafts and modes of communication while also providing space for new skills to be learned, the museum seeks to promote a sense of community and shared values.

A range of services are provided to cover the needs for various mental health issues at different stages of the recovery journey. As well as offering language classes, art therapy studios and contemplative spaces immersed throughout the museum will allow for other forms of communication that are not impeded by the language barrier faced by migrants. Ch’iil also explores the therapeutic properties of water, with water features running throughout the building, both internal and external. Whilst using its reflective properties within the architecture, it is also the driving force of the environmental strategy.

We wish to celebrate the contribution that migrants have made and continue to make to British cuture, inviting members of the diverse local community to make, share and experience cultural artefacts in their various forms. GROUP 28

GROUP 27

DIASPORAS

H A P P O L D F O U N D AT I O N P R O J E C T

[Wate r]

1:100

The north side of the building has a tiered structure on its roof, directing water to a sloped light well, draining from a pool outside the entrance into a tank below. The rainwater collection device has been designed to relieve the London drainage system when flash floods become more frequent in the future. Its transparency and symbolism within the building aims to inform visitors on the impact of climate change on future weather events and the necessity to preserve water.

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CH’IIL

[this is a sample layout, max 8 images]

Group 27

Group 28

Oriele Grigg, Eric Chan, Nuria Yagoubi, Hasib Rajput, Roberto Cellek, Max Chan, William Cheng

Frederica Brito e Cunha, Gregor Ferguson, Ed Davison, Arun Nair

TRANQUILITY AMONGST WAT E R

BELGROVE HOUSE

GROUP 27

DIASPORAS

H A P P O L D F O U N D AT I O N P R O J E C T

[Wate r]

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INDIVIDUAL PROJECT LO C AT I O N : C A M D E N Returning to the studio after such a long time came with a mixture of feelings, but despite our rusty social skills, the joy of interaction soon returned a sense of conviviality to studio that many had not felt since second year. Any initial tentativeness soon disappeared as we got stuck into the TED project, re-acquainting ourselves with the discursive act of design. This intense period of thought, negotiation and architectural production was followed in semester two by the prospect of designing alone. Whether relieved or apprehensive, everybody felt the gravity of the final project.

As with any piece of architecture, the sensibilities of each designer collide with the vagaries of the real world. This year, the built and social fabric of Camden became a testbed for our ideas. The variety of projects is as diverse as their authors, but each project benefits from a genuine belief in architecture as a force for good. This, alongside an incredible effort has left everybody with something to be proud of. It has been a pleasure working alongside you all. The Yearbook Team Graduating 4th Year Students

INDIVIDUAL PROJEC T

Yet with the opportunty to explore our own themes and avenues of interest, it was as liberating as it was challenging. Each project represented an individual voice, which resonated with a sense of confidence four years in the making.

BSC ARCHITECTURE | YEAR 4

YEAR 4

INDIVIDUAL PROJEC T

BSC ARCHITECTURE | YEAR 4

YEAR 4

Molly Funge

Imogen Burt

Kyale Mwendwa

Balint Kerekes

Adam Clifford

Colton Newbury

Akul Talwar

Tanyaradzwa Chiganze

T U T O R : A L A S TA I R C R O C K E T T

Molly Funge

Imogen Burt

Kyale Mwendwa

Balint Kerekes

Adam Clifford

Colton Newbury

Akul Talwar

Tanyaradzwa Chiganze

T U T O R : A L A S TA I R C R O C K E T T

BSC ARCHITECTURE | YEAR 4

RE-MIND

[this is a sample layout, max 8 images]

AN ELEC TRIC ODYSSEY Colton Newbury

akultalwar2011@gmail.com

coltonn@virginmedia.com

H E A L I N G , P L AY, & N AT U R E

L AT E N T P O T E N T I A L

Given the fact that around 13% children aged 5-16 and 25% aged 16-24 were diagnosed with poor mental health conditions in Camden recently, the brief for this project was to design a healthcare facility for children and younger people that would incorporate creative techniques like art therapy and biophilia as tools to enhance the healing process. Considering the user groups of this building, it all came down to multisensory experiences for the little ones. For children, growth and healing are greatly affected by all senses, touch and vision being key in this case. In order to use architectural design as a tool that can help in the healing process, I was inspired from a range of fun activities that I took part in as a child and have aimed to transform them on a macro scale in this proposal. The concept of play has been integrated into different architectural elements like walls and floors which encourages children to engage with these elements with a joyous spirit. The material palette for this project was inspired by the 5 key elements of King’s Cross, namely bricks, arches, metal, glass, and pitched roofs and the proposal aims to achieve a fine balance between these elements. The building has a bold London Stock brick envelope and a feature atrium that is clad in corrugated steel panels. The inside features warm and inviting exposed timber finishes, most of which are structural.

The project brief is to design an informal institute for innovation in electrification. As the client is expanding their research into hydrogen fuel cell technology, a site with close proximity to water is expected. Therefore, the site was specified to be directly above the unfortunately buried river Fleet, creating a strong need to address a tension of opposites (electricity and water) which in their turn seek compensation in unity.

TUTOR :

A L A S TA I R C R O C K E T T

Moreover, An Electric Odyssey engages with the gesture of discovery; Hence, attempting to nurture ordinary things which seek to be embodied and to come into the world. Whether these ordinary things are lost, forgotten, or yet to be revealed calls for an urge of respecting and celebrating the integrity of these things through discovering. The architectonic approach is to embrace and embody these ordinary things as whole elements — reduced to their most elemental, inner-core values — heightening one’s awareness of their being , or presencing , to such a degree that they exist. The meaning lies not in the projection itself but in the value of its becoming , stretching the ontological scope of architecture:

TUTOR :

A L A S TA I R C R O C K E T T

INDIVIDUAL PROJEC T

Akul Talwar

To make an extraordinary [thing] special is banal: To heighten one’s awareness of a humble [thing] is poetic .

BSC ARCHITECTURE | YEAR 4

RE-MIND

[this is a sample layout, max 8 images]

AN ELEC TRIC ODYSSEY Colton Newbury

akultalwar2011@gmail.com

coltonn@virginmedia.com

H E A L I N G , P L AY, & N AT U R E

L AT E N T P O T E N T I A L

TUTOR :

A L A S TA I R C R O C K E T T

TUTOR :

A L A S TA I R C R O C K E T T

INDIVIDUAL PROJEC T

Akul Talwar

To make an extraordinary [thing] special is banal: To heighten one’s awareness of a humble [thing] is poetic .

BSC ARCHITECTURE | YEAR 4

Adam Clifford

Balint Kerekes

adam.clifford31@outlook.com

b.kerekes329@gmail.com

S AV E O U R S C ENE

RECONCILING MODERNIST A N D R A I LWAY H E R I TA G E WITH THE PUBLIC REALM IN GOSPEL OAK

Resonate presents a complex of multimodal grassroots music venues, transformed by day to provide real community value, be it a cafe, conference room or crèche for the neighbouring church. Alternate economic value is provided via an array of recording studios, a vinyl shop and pressing-plant. In times of pandemic, the large central courtyard provides a space for outdoor events, its tall rammed earth surroundings helping to contain sound. Sound control has been a key driver throughout the scheme, informing the layout, material choices, detailing and ventilation strategies. The project must respect its neighbours to earn value amongst the whole community demographic. Only then may it stand a chance against future redevelopment plans.

The skills centre is the symbol of Camden’s retrofit programme, which aims to improve the post-war council housing stock of the borough. The proposal hosts educational and training facilities, providing employment opportunities for the residents of Gospel Oak.

“From the two-by-two punk stage, To a warehouse rave, With a bloke we met on the way, Dancing ‘til day... I have a love, And it never fades.” (For Those I Love)

The focal point of the scheme is a large assembly hall. Envisioned as a social condenser, it serves as a multi-purpose event space further to an open access workshop, which fosters learning and making. A permanent decking structure is sunk into the railway cutting at the disused Haverstock Hill station, which provides a robust base for the workshops, and defines a long-term vision for the site - should the skills centre become obsolete, the deck will be able to hold a different building.

A L A S TA I R C R O C K E T T

TUTOR :

In an increasingly polarized society, divided by political views, class and race, and aggrevated by social media algorithms, the value of live music has never been more significant. Yet, in the past decade, 40% of London’s beloved venues have been forced to shut their doors for good. The venue of tomorrow must adapt for our scene to survive.

TUTOR :

A L A S TA I R C R O C K E T T

INDIVIDUAL PROJEC T

RETROFIT SKILLS CENTRE

INDIVIDUAL PROJEC T

R E S O N AT E

The volume of the overbuild floats above the railway; realised as a timber frame, it creates a warm and welcoming environment. The facade wraps around the building as a thin veil; its rhythm and transparency convey the public essence of the institution.

BSC ARCHITECTURE | YEAR 4

Adam Clifford

Balint Kerekes

adam.clifford31@outlook.com

b.kerekes329@gmail.com

S AV E O U R S C ENE

RECONCILING MODERNIST A N D R A I LWAY H E R I TA G E WITH THE PUBLIC REALM IN GOSPEL OAK

“From the two-by-two punk stage, To a warehouse rave, With a bloke we met on the way, Dancing ‘til day... I have a love, And it never fades.” (For Those I Love)

A L A S TA I R C R O C K E T T

TUTOR :

A L A S TA I R C R O C K E T T

INDIVIDUAL PROJEC T

RETROFIT SKILLS CENTRE

INDIVIDUAL PROJEC T

R E S O N AT E

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I N O C U L AT I O N

Mimi Burt

Kyale Makau Mwendwa

mimiburt@gmail.com

Kyale.makau.mwendwa@gmail.com

AN IVF CLINIC FOR CAMDEN

VACC INE FAC TO RY

Since the dawn of homo-sapiens, the separation between male and female has come down to a human’s potential, or not, to produce offspring. With so much of the female condition being tied to having children and motherhood, it is unsurprising that infertility continues to carry a heavy social stigma and links so integrally to a woman’s mental health.

Measles Pathogenesis & Control

TUTOR :

The building also addresses the canal it faces, by pulling water into the site and naturally cleaning it through reed beds to supply water to a lido, before returning the clean water to the canal as a gift to the city. The relationship between water and the origin and preservation of life is fundamental on many levels, whether symbolic, vital to the process, or good for mental health.

Large ventilation loads being required throughout the building, the centre of the scheme is dominated by expressed ventilation ducts carrying air throughout the building.

“TECTONIC OF TRUST”

A L A S TA I R C R O C K E T T

In response to this, and in anticipation of In-Vitro Fertilisation (IVF) becoming increasingly common, the scheme aims to provide a clinic dedicated to producing humans with the aid of technology. The space will act as a sanctuary for womanhood and a celebration of fertility and the creation of life.

This building aim to repair public perception into the vaccination process, through familiarity and exposure. With a philosophy of transparency. With an unashamed factory aesthetic carried through out the whole building.

TUTOR :

A L A S TA I R C R O C K E T T

INDIVIDUAL PROJEC T

CONCEPTION

THE PROJECT IS AS MUCH A CELEBRATION OF THE URBAN FACTORY ARCHETYPE AS IT IS ABOUT TRANSPARENCY.

BSC ARCHITECTURE | YEAR 4

I N O C U L AT I O N

Mimi Burt

Kyale Makau Mwendwa

mimiburt@gmail.com

Kyale.makau.mwendwa@gmail.com

AN IVF CLINIC FOR CAMDEN

VACC INE FAC TO RY

Measles Pathogenesis & Control

TUTOR :

Large ventilation loads being required throughout the building, the centre of the scheme is dominated by expressed ventilation ducts carrying air throughout the building.

“TECTONIC OF TRUST”

A L A S TA I R C R O C K E T T

TUTOR :

A L A S TA I R C R O C K E T T

INDIVIDUAL PROJEC T

CONCEPTION

THE PROJECT IS AS MUCH A CELEBRATION OF THE URBAN FACTORY ARCHETYPE AS IT IS ABOUT TRANSPARENCY.

Alice Kerry

Owen Gillet

Rosanna Bacon

Ilakya Srikusan

John Swiss

Thomas Robinson

Eu Xuen Chai

Jane Ng

TUTOR : ANNE CL A X TON

Alice Kerry

Owen Gillet

Rosanna Bacon

Ilakya Srikusan

John Swiss

Thomas Robinson

Eu Xuen Chai

Jane Ng

TUTOR : ANNE CL A X TON

BSC ARCHITECTURE | YEAR 4

BETWEEN CONCRETE

Eu Xuen Chai

Alice Kerry

xuen3u@gmail.com

alicekerry05@gmail.com

A C AT S A N D D O G S H O M E FOR THE COMMUNITY

C E L E B R AT I N G U R B A N B I O D I V E R S I T Y AT A D E L A I D E R O A D N AT U R E R E S E R V E

INDIVIDUAL PROJEC T

COMPANION

TUTOR :

Passive environmental strategies maximising daylight and natural stack ventilation are implemented through breaks in the massing and double or triple height spaces, while external spaces and kennels are arranged to minimise noise disturbance to neighbours. The pitched roofs and garden settle the building into its local residential context, while its robust steel and concrete structure allow it to stand out.

The project focuses on promoting the reputation of ‘open mosaic lands’ – areas of the urban fabric that have been naturally re-wilded, but still retain their industrialised character. These spaces are often overlooked but contain rich and diverse biosystems that are key to re-introducing nature back into cities. The scheme pays homage to these spaces through its materiality, helping to promote the value of what is usually considered ugly.

ANNE CL A X TON

A central landscaped area is bookended by the two wings of the building, creating a dog-safe zone that is at the same time highly visible from both streets, thanks to the transparent ground floor of the south elevation and the swale created along Pratt Street. Responding to the level difference of the site, flowing ramps connect the two parts of the home and provide an engaging walk through the garden.

As a contrast to the desire to have well-manicured green spaces in London, this project celebrates spaces of urban wilderness. The intervention provides an accessible and attractive gateway to the currently undervalued Adelaide Road Nature Reserve, bridging the gap between a pocket of protected meadow and the street. Located nearby tourist hotspots and well-established communities, the building serves as a place for education, action, and enjoyment, providing useful and flexible spaces that will be used on an everyday basis by tourists and residents alike.

TUTOR :

ANNE CL A X TON

This project seeks to reimagine the utilitarian cats and dogs home as a welcoming, communitycentric space that not only provides comfortable shelters for animals but also promotes interaction and relationship-building between humans and animals.

BSC ARCHITECTURE | YEAR 4

BETWEEN CONCRETE

Eu Xuen Chai

Alice Kerry

xuen3u@gmail.com

alicekerry05@gmail.com

A C AT S A N D D O G S H O M E FOR THE COMMUNITY

C E L E B R AT I N G U R B A N B I O D I V E R S I T Y AT A D E L A I D E R O A D N AT U R E R E S E R V E

INDIVIDUAL PROJEC T

COMPANION

TUTOR :

ANNE CL A X TON

TUTOR :

ANNE CL A X TON

BSC ARCHITECTURE | YEAR 4

C AT H A R S I S

Owen Gillett

Jane Hiu Ching Ng

orlg20@bath.ac.uk

janehcng@gmail.com

THE CENTRE FOR EMBODIED AI

B R E A S T C A N C ER C A R E C EN T R E

The proposal presupposes the availability of production-prototype robots manufactured by the project’s industrial partners, a feasible supposition given the recent and prominent success of firms like Boston Dynamics. The dynamic facade takes inspiration from recent developments in ‘soft’ robotics, a field of research at the cutting edge of human-machine interaction. The facade is composed of a continuous wire mesh that supports chains of inflatable silicone bubbles. The chains of bubbles can inflate independently to provide solar shading during the day and have integrated LED lighting that allows for impressive light shows at night.

The proposed breast cancer care centre will serve as the permanent headquarters of Breast Cancer Now; it will support both the operational and charitable work of the organisation. The art therapy studio is the heart of the facility; it will be a therapeutic environment where patients and their families can do different forms of art and receive counselling with art therapists. Apart from exploring and expressing feelings, the art studio can also create a community where breast cancer patients can meet up with others who are going through or have been through the same journey. It will be an opportunity for them to develop a support network, especially those who face cancer completely alone. In addition, the artwork produced by the community can help raising funds and awareness through various inhouse events, such as exhibitions and auctions.

ANNE CL A X TON

TUTOR :

Located on UCL’s Bloomsbury Campus, the project aims to deliver premises that will accommodate and facilitate sustained, diverse interactions between AI-driven robots and human participants from all walks of life. Its principal function is the gathering of huge amounts of experiential data which, when processed by sophisticated algorithms and neural networks, are crucial to achieving the ambition of developing a machine system that can generalize.

TUTOR :

ANNE CL A X TON

INDIVIDUAL PROJEC T

NURSERY FOR ROBOTS

Furthermore, the cancer care centre will be integrated with healing gardens, which aim to improve occupants’ overall mood, self-esteem, and well-being. Incorporating nature into the building can facilitate sensory-based therapeutic practices, break up patients’ monotonous routines and give people the freedom to explore in a safe, private and relaxing environment.

BSC ARCHITECTURE | YEAR 4

C AT H A R S I S

Owen Gillett

Jane Hiu Ching Ng

orlg20@bath.ac.uk

janehcng@gmail.com

THE CENTRE FOR EMBODIED AI

B R E A S T C A N C ER C A R E C EN T R E

ANNE CL A X TON

TUTOR :

ANNE CL A X TON

INDIVIDUAL PROJEC T

NURSERY FOR ROBOTS

BSC ARCHITECTURE | YEAR 4

G AT H E R

FUMES

John Swiss

Rosanna Bacon

1johnswiss@gmail.com

rosannabacon@yahoo.com

INDIVIDUAL PROJEC T

WESTKING COOKING SCHOOL The school is an extension to WestKing College and offers training in cooking, baking and coffee roasting.

TUTOR :

The Great Hall will provide a venue for teaching, festivities, artwork and informal interaction. Under the tutelage of The School of Life, its seasonal programs will reinforce values that are centred on sharing, growth and the human perspective.

Reinterpreting the chimney element, pyramidal roofs were designed for the kitchens, serving both symbolic and environmental purposes. The ground floor hosts a large public cafe and restaurant, enabling students to gain field experience and engaging the building with the local community. The school sits comfortably in the Bloomsbury Conservation Area and protected park thanks to a material palette echoing both the masonry of the built context and the surrounding trees.

ANNE CL A X TON

The pace of the modern world is accelerating. In the West, untold wealth and the best minds are focussed on the pursuit of technological advancement. Whilst this brings material benefits, our days are ruled by mechanisation. We have lost touch with the non-tangible strands of human existence.

The project celebrates the kitchens, which are usually hidden, back-of-house spaces, by making them the spatial, structural and visual cores of the building.

TUTOR :

ANNE CL A X TON

T H E G R E AT H A L L AT CAMDEN SQUARE

The building will respect and contribute to the evolving palimpsest at Camden Square. The octagonal shape of the original church site has been retained in the outlines of the courtyard and the amphitheatre. The monolithic form will act as a landmark at the heart of this community. The towering lines of the hall will find space for exuberant celebration, whilst the quieter zones, lit from above, will promote inward focus.

BSC ARCHITECTURE | YEAR 4

G AT H E R

FUMES

John Swiss

Rosanna Bacon

1johnswiss@gmail.com

rosannabacon@yahoo.com

INDIVIDUAL PROJEC T

WESTKING COOKING SCHOOL The school is an extension to WestKing College and offers training in cooking, baking and coffee roasting.

TUTOR :

ANNE CL A X TON

The project celebrates the kitchens, which are usually hidden, back-of-house spaces, by making them the spatial, structural and visual cores of the building.

TUTOR :

ANNE CL A X TON

T H E G R E AT H A L L AT CAMDEN SQUARE

Alexander Whitfield

Tsz Shum

Elliot Judd

Changyi Li

Matthew Pembery

Gregor Ferguson

Eleanor Hyde

Emily Onagoruwa

TUTOR : DANIEL WONG

Alexander Whitfield

Tsz Shum

Elliot Judd

Changyi Li

Matthew Pembery

Gregor Ferguson

Eleanor Hyde

Emily Onagoruwa

TUTOR : DANIEL WONG

BSC ARCHITECTURE | YEAR 4

LUDIC GARDENS

Elliot Judd

Daisy Tsz Ying Shum

elliotjudd.ej@gmail.com

stydaisy@gmail.com

C O N N E C T I N G D ATA & S O C I E T Y

A P L AY CENTRE AND A COMMUNIT Y KITCHEN IN THE CENTRE OF C AMDEN TOWN

TUTOR :

This is a scheme that sits at the confluence of data and humanity in the social context of London. The project operates at both the micro and the macro scale, by humanising data through artworks, and by connecting communities through large urban infrastructure. The scheme hopes to bring data to the forefront of cultural discussion and present the data centre as a new urban landmark for the twenty first century.

LUDIC_adjective lively and full of fun. When children play, their worlds are reimagined to be less intimidating, and children are in control of their own actions. During this sacred playtime and space, young people are empowered to move beyond adult-prescribed ways of being. But in this dense and unsafe urban environment, where do children play? This project creates a multi-layered playscape right in the centre of Camden Town, a gritty area ridden by crime and deemed undesirable for families. The proposal is an amalgamation of play spaces defined by its gardens and a street-facing community kitchen to revitalise the disused culde-sac. Through the ludic, or playful, gardens, children and families are brought together to enjoy the valuable urban green spaces key to children’s growth. The architecture becomes a part of the play: the layering of geometric building objects and screens; structural frames designed flexibly to be modified; and the systems that impose a gentle presence on its surroundings.

DANIEL WONG

The rate at which data is being created, manipulated and shared within contemporary society is ever increasing and the spatial impacts of this data boom are not to be underestimated. Data centres represent a very utilitarian aspect of the built environment - often vast, windowless warehouses where the server replaces the human body as the reference point for scale. However, what sets these buildings apart from mere infrastructure is their deep relation and immersion within our contemporary cultural landscape.

TUTOR :

DANIEL WONG

INDIVIDUAL PROJEC T

D ATA A R C H I T E C T U R E

BSC ARCHITECTURE | YEAR 4

LUDIC GARDENS

Elliot Judd

Daisy Tsz Ying Shum

elliotjudd.ej@gmail.com

stydaisy@gmail.com

C O N N E C T I N G D ATA & S O C I E T Y

A P L AY CENTRE AND A COMMUNIT Y KITCHEN IN THE CENTRE OF C AMDEN TOWN

TUTOR :

DANIEL WONG

TUTOR :

DANIEL WONG

INDIVIDUAL PROJEC T

D ATA A R C H I T E C T U R E

BSC ARCHITECTURE | YEAR 4

DANIEL WONG

Eleanor Hyde

Alex Whitfield

eleanor@thehydefamily.com

alexmwhitfield@gmail.com

A C H R I S T I A N R E T R E AT F O R T H E V I S U A L LY I M PA I R E D The Lumen Incarnatus Centre is located at the head of St.George’s Gardens in Bloomsbury, London. Close proximity to the RNIB allows for improved connections and resource sharing, as well further engagement with the wider sight loss community. Primarily, the building functions as a Christian community ‘Mother House,’ with the program influenced by traditional Christian monasticism and arranged in response to the reality of visual impairment. Three buildings (representative of the union shared by the body of believers) are united around a cloister and courtyard garden, which facilitates peaceful navigation for the visually impaired. A stone and timber material rationale introduces tactility, attributing a non-visual sense of place. Everything in the building has been considered to benefit those who struggle with sight loss, aiming to instil peace, break down barriers and facilitate fellowship with God and with others. Timber and stone are employed with an ‘above and below’ approach, with the timber roof forms above representing the junction at which Christ came down to save humanity, and responding to the acoustic needs of the three buildings. The refectory roof consists of tessellating triangular forms that act as an acoustic baffle, preventing reverberation in the space. The roof over sails towards the park and new cafe provision, creating a lightweight timber canopy that perches ephemerally, dissolving the park boundary. Lumen Incarnatus is a beacon and pilgrimage destination to a historic, spiritual ‘oasis’ of a park, thus fulfilling the client’s initial aim to not only provide retreat for guests, but to also engage local residents and respond to a prevalent spiritual hunger with the love of Christ.

God

Others

Self

S W I M M I N G A S A C ATA LY S T FOR SOCIAL AND ECOLOGIC AL CHANGE Britain’s waterways are beloved locations for exercising and leisure. However, pollution threatens these treasured spaces and harms the bio-diversity which attracts so many people to waterways. Depite the challenges our waterways face, lockdowns have inspired a huge uptake in open water swimming. It is an activity which is egalitarian, social, contemplative and accessible to all. This proposal creates a lido in an otherwise overlooked site of post-industrial decline. The design puts the pools at the heart of a community facility in one of the poorest neighbourhoods of central London. It combines spaces for various social groups and reclaims open water bathing’s historic role as a social leveller.

DANIEL WONG

TUTOR :

LIDO

TUTOR :

[this is a sample layout, max 8 images]

INDIVIDUAL PROJEC T

L U M E N I N C A R N AT U S

Amongst vibrant public spaces, the scheme filters the canal through a series of wetlands. Nature is used in an industrial way. The scheme represents a type of urbanism which addresses increasinglyurgent environmental issues through creating socially-conscious public facilities which humanise the surrounding city.

BSC ARCHITECTURE | YEAR 4

DANIEL WONG

Eleanor Hyde

Alex Whitfield

eleanor@thehydefamily.com

alexmwhitfield@gmail.com

God

Others

Self

DANIEL WONG

TUTOR :

LIDO

TUTOR :

[this is a sample layout, max 8 images]

INDIVIDUAL PROJEC T

L U M E N I N C A R N AT U S

BSC ARCHITECTURE | YEAR 4 INDIVIDUAL PROJEC T

Matthew Pembery

emilyonagoruwa@gmail.com

matt.pembery@outlook.com

BRIDGING THE GAP BETWEEN THE NEUROT YPICAL AND THE NEURODIVERSE

“TO KNOW LOVE, MEN MUST BE ABLE TO LET GO THE W I L L T O D O M I N A T E ” // B E L L HOOKS

The Resource aims to integrate autistic children and adults into the community by providing a dedicated building that serves many purposes. A ‘drop in’ school acts as a stepping-stone for autistic pupils into Camden’s mainstream system. On-site respite, employment schemes and community facilities help to combat the poor statistics linked with autistic adults.

a centre for exploring masculinities that will engage and challenge the public with ideas about how masculinity upholds the patriarchy and contributes to male violence, whilst negatively impacting men embodying patriarchal masculinity. located in swiss cottage, the centre will become part of a range of existing community facilities such as the library, theatre and sports centre that exist around the swiss cottage open space

Designing with the senses in mind was paramount to the scheme’s development. This is translated through the key landscaping areas, which vary to cater to the broad spectrum. A highly controlled courtyard contrasts the completely exposed rooftop garden. A covered cloister furthers the sensory theme, and links to the idea of transition. Retaining a part of the existing building not only provides a security buffer, it also creates a space that allows the community to better understand the disorder. A dedicated teacher training space lets staff from the local area benefit from a handson approach. Taking the new-found knowledge back to their schools will make them, and Camden, more inclusive as a whole.

Learning Admin

Services

U Values External Wall - 0.13W/m²K Ground Floor - 0.12W/m²K Green Roof - 0.09W/m²K Glazing - 0.8W/m²K

the project will provide facilities that educate and challenge men about how they uphold the patriarchy, and through an exhibition, beauty studio and movement space, provide alternative visions for masculinity beyond patriarchal norms. these spaces will all encourage conversation about masculinity between the users of the scheme. in addition, the project provides mental health spaces that encourage people to seek support who might otherwise not, recognising the impact of patriarchal masculinity on mental health both for those who are impacted by it and those who perform it. whilst the project challenges gendered

DANIEL WONG

Emily Onagoruwa

TUTOR :

MASCULINITIES

INDIVIDUAL PROJEC T

TUTOR :

BSC ARCHITECTURE | YEAR 4

THE RESOURCE

BSC ARCHITECTURE | YEAR 4 INDIVIDUAL PROJEC T

Matthew Pembery

emilyonagoruwa@gmail.com

matt.pembery@outlook.com

BRIDGING THE GAP BETWEEN THE NEUROT YPICAL AND THE NEURODIVERSE

“TO KNOW LOVE, MEN MUST BE ABLE TO LET GO THE W I L L T O D O M I N A T E ” // B E L L HOOKS

Learning Admin

Services

U Values External Wall - 0.13W/m²K Ground Floor - 0.12W/m²K Green Roof - 0.09W/m²K Glazing - 0.8W/m²K

DANIEL WONG

Emily Onagoruwa

TUTOR :

MASCULINITIES

INDIVIDUAL PROJEC T

TUTOR :

BSC ARCHITECTURE | YEAR 4

THE RESOURCE

BSC ARCHITECTURE | YEAR 4

BOLLINGEN

Gregor Ferguson

Changyi Li

info@gregorferguson.com

lchysherry@gmail.com

A THERAPEUTIC ART CENTRE FOR AN JUNGIAN ARTIST AN INSTITUTE FOR AI

A robotics centre lies at the heart of the project within a cathedral-like atrium, providing a dynamic exhibit in view of the public realm. The atrium represents a cathedral-like space, where the sound of robots and playing children can be heard in chorus. The loadbearing masonry enclosure offers a material counterpoint to the metallic robots that it harbours, evocative of our earthen origins. An exhibition space addresses the street, inviting the public to explore the institute while reminding staff who the they really serve. Public lectures are held in the auditorium, positioned symbolically above the robot realm. The auditorium provides a venue for interaction and debate about our shared future.

Surrounded by trees and standing on the old canal track, the art centre is built in stone for one to get back, reflect and contemplate. The main galleries Darkness, Search and Vocation, display the artist’s work as a manifestation of her psychic journey moving on from the individual self-healing to her life mission of healing others through art. Three gardens accompany the galleries, in echo of their different symbolic meanings and having distinctive idiosyncrasies. Art therapy rooms scatter along the main building, sheltered by trees and hedges; the artist and Jungian researchers’ workplace is also found as a separate wing, away from public reach. The artist’s place of “spiritual concentration”, her own studio tower, is her realm of free artistic expression. A spiral staircase at Vocation garden rises up to the sky, in response to the tower as spaces of “spiritual elevation”.

DANIEL WONG

TUTOR :

Left unchecked, AI poses risks to society and, some argue, humanity itself. This project seeks to ask questions about how we manage the continual advancement of technology.

Named after the Bollingen Tower, a spiritual retreat of the psychiatrist Carl Gustav Jung, the art centre is designed for a spiritual artist and art therapist as her place of work and public engagement. It is a place of healing through art, also including a gathering spot for Jungian researchers to work and spread the wisdom of Jung.

TUTOR :

DANIEL WONG

The project is a new headquarters for The Alan Turing Institute: the UK’s National Institute for Artificial Intelligence and Data Science. Set in a former industrial yard in Kentish Town, a site with an industrial past is renewed with research and speculation about the future.

INDIVIDUAL PROJEC T

TECHNOPHILIA

By going through the artist’s journey, we also see our own. It is a place for her, but also a place of life exploration for all.

BSC ARCHITECTURE | YEAR 4

BOLLINGEN

Gregor Ferguson

Changyi Li

info@gregorferguson.com

lchysherry@gmail.com

A THERAPEUTIC ART CENTRE FOR AN JUNGIAN ARTIST AN INSTITUTE FOR AI

DANIEL WONG

TUTOR :

Left unchecked, AI poses risks to society and, some argue, humanity itself. This project seeks to ask questions about how we manage the continual advancement of technology.

TUTOR :

DANIEL WONG

INDIVIDUAL PROJEC T

TECHNOPHILIA

By going through the artist’s journey, we also see our own. It is a place for her, but also a place of life exploration for all.

Nicholas Ratcliffe

Matthew Smale

Alexander Daniel

Georgina White

Henry Myers

Eric Chan

Fathimath Ziya

Alice Smith

T U T O R : E L Y S E H O W E L L- P R I C E

Nicholas Ratcliffe

Matthew Smale

Alexander Daniel

Georgina White

Henry Myers

Eric Chan

Fathimath Ziya

Alice Smith

T U T O R : E L Y S E H O W E L L- P R I C E

BSC ARCHITECTURE | YEAR 4

THE ART OF HEALING

Alexander Daniel

Alice Smith

alexdedaniel@hotmail.co.uk

alicedaisiesmith@gmail.com

DISTILLERY OF GIN AND THERAPEUTIC REMEDIES

ART THERAPY CENTRE

INDIVIDUAL PROJEC T

HALF HITCH DISTILLERY

TUTOR :

A level of transparency is required to achieve this. The “behind-the-scenes” processes are rarely seen in distilleries but this scheme seeks to celebrate and display the intimate crafting processes - from the initial cultivation of the plants to the creation of the botanicals, the distillation process itself and finally the consumption of these products on site.

Responding to the demand for therapy services, the proposal provides a space for art therapy sessions that reflect the nature of the practice and promote wellness. It creates a new approach to the traditional therapy model, whilst also running validated Art Therapy and Psychotherapy courses in a creative, specialised learning environment. To promote wider community engagement, the gallery area introduces and informs the public about therapeutic support, helping to remove stigmas around mental health and therapy. It also offers a place where artwork from therapy sessions, trainee students and the local community can be displayed.

E LY S E H O W E L L- P R I C E

This proposal aims to revitalise our relationship with the natural world through re-imagining the distillation process and the architecture that houses it. It aspires to be a catalyst for social change, a cultural hub within the community to educate visitors on traditional distillation and herbalism techniques. Using hand-picked, locally sourced ingredients, the products are designed to stimulate the senses.

With the goal to create a hopeful and healing environment which stimulates curiosity and creative imagination, the proposal provides a place for art therapy and the arts. TUTOR :

E LY S E H O W E L L- P R I C E

Half Hitch Distillery is focused on the revival of traditional herbalism practices for the benefit of the local community.

The three areas; The Gallery, The College, and Therapy Centre occupy separate volumes within the design to meet the specific functions and needs of the spaces; however the volumes also work together to create a united and calming design that flows from public to private.

BSC ARCHITECTURE | YEAR 4

THE ART OF HEALING

Alexander Daniel

Alice Smith

alexdedaniel@hotmail.co.uk

alicedaisiesmith@gmail.com

DISTILLERY OF GIN AND THERAPEUTIC REMEDIES

ART THERAPY CENTRE

INDIVIDUAL PROJEC T

HALF HITCH DISTILLERY

TUTOR :

E LY S E H O W E L L- P R I C E

With the goal to create a hopeful and healing environment which stimulates curiosity and creative imagination, the proposal provides a place for art therapy and the arts. TUTOR :

E LY S E H O W E L L- P R I C E

Half Hitch Distillery is focused on the revival of traditional herbalism practices for the benefit of the local community.

Truss Construction

Truss Hierarchy

A collection of lattice trusses are proposed. As with Belfast Trusses, these rely upon the collaborative strength of multiple smaller members to reduce material requirements. The close-knit lattice provides the rigidity to transfer both lateral and gravity loads.

Workshops Requires the greatest amount of working light and greatest ceiling heights. Rotated alignment to provide uninterrupted skylights.

Timber planks are layered with offset spliced connections to form the truss chords

Greatest heirarchy of space.

47 x 200 mm Carcassing Timber Plank Off Cuts

47 x 75 mm Carcassing Timber Batten Off Cuts

Studios Relates to office studios and smaller workshops. Requires working light at a reduced scale. Smaller, ceiling heights to retain comfortable proportions.

The Avenue Use of multiple smaller members to portray lightness of structure and limited visual impact. Lowest heirarchy of space. 2

Simple bolt connections allow for ease of construction and end-of-life disassembly

Timber batten pack 45

B S C A R C H I TT EECCTTUURREE || YYEEAARR 44

BSC ARCHITECTURE | YEAR 4

All structural members will originate as carcassing timber off cuts, with the smallest lengths repurposed as packing between layers.

INN

OVA TIO

ETIN

C R EEP Y- C R AW L I E S

R E PA I R

Fathimath Ema Ziya fathimathemaziya@gmail.com

TUTOR :

The brief proposes a research and education centre that highlights the importance of insects and the threats they face and how we can help. The bug sanctuary becomes a centre that fosters studying, observing and loving nature in the heart of Camden. The project will encourage residents and the local community to engage with the biophilia around them, school children to learn more about biodiversity and the role of insects, and researchers to conduct experiments in an urban setting. Every part of the building focuses on how it can create or support a habitat for different insects, from green roofs to gabion walls. The labs for the researchers are also equipped experiment roof gardens. The entrance is a seasonal pavillion that celebrates the changing of the weather along with the landscape that would grow and evolve as well.

BIK EN CH KIT GS

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HU U BB FF O O RR A C O M M U N I T YY H R E PA I R We are facing an environmental environmental crisis, caused, in part, by excessive consumption consumption and a ‘throwaway ‘throwaway society’.. society’ The movement towards towards a more sustainable sustainable future need not not evoke evokethe thesense senseofofdespair despair which tends need which tends to to be associated with action preserve future be associated with action to to preserve thethe future of of our planet. Instead,it itshould shouldbe beaa beautiful beautiful and and our planet. Instead, celebratedprocess processofofrepair repairthat thatinspires inspires a desire celebrated a desire to to contribute. contribute.

To act act as as aa catalyst for this, forms aa To catalyst for this, my my proposal proposal forms community hub dedicated to repair, administered community hub dedicated to repair, administered by the ‘Restart Repair’ charity. Unsustainable by the ‘Restart Repair’ charity. Unsustainable societal habits are challenged within a joyful societal habitsof are challenged a joyful environment activity that within stimulates the environment of activity sharing of ideology andthat skill.stimulates the sharing of ideology and skill. The building is a shared resource, acting as an The building is a home. sharedIt resource, as an extension of the will host acting a ‘Library of ex t ensionand of t facilitate he home. aIt series will hosof t a workshops, ‘Library of Things’ Things’ and facilitate a series of workshops, providing both the space and the means to repair, providing the space and the means to repair, alongside both the opportunity to learn. An Innovation alongside opportunity to learn. An Innovation Studio willthe influence a change in standard industry Studio will influence a change in standard industry practices. practices. Overall, the project is a celebration of craft, and of the benefits of acting Overall, the project is atogether. celebration of craft, and of the benefits of acting together.

R : S E THUOTW OE R L’ SL-NPARM T U T O R : T U TEOLY I CEEI

E LY S E H O W E L L- P R I C E

With 1 in every 4 insects being threatened with extinction and the biodiversity and climate crisis we face today, it is critical to value all parts of nature - even the tiny creepy crawlies.

matthewsmale27@gmail.com matthewsmale27@gmail.com

RV IS

ing knitt n - ir mo - cho s uts tue - sco pong g d we - pin show l r thu schoo fri

A BUG SANCTUARY AND RESEARCH CENTRE IN CAMDEN

D U A L P R O J E C TT IINNDDIIVVII D

INDIVIDUAL PROJEC T

LIB

Matthew Smale Smale Matthew

HIN

YO AR

722

Truss Construction

Truss Hierarchy

Workshops Requires the greatest amount of working light and greatest ceiling heights. Rotated alignment to provide uninterrupted skylights.

Timber planks are layered with offset spliced connections to form the truss chords

Greatest heirarchy of space.

47 x 200 mm Carcassing Timber Plank Off Cuts

47 x 75 mm Carcassing Timber Batten Off Cuts

Studios Relates to office studios and smaller workshops. Requires working light at a reduced scale. Smaller, ceiling heights to retain comfortable proportions.

The Avenue Use of multiple smaller members to portray lightness of structure and limited visual impact. Lowest heirarchy of space. 2

Simple bolt connections allow for ease of construction and end-of-life disassembly

Timber batten pack 45

B S C A R C H I TT EECCTTUURREE || YYEEAARR 44

BSC ARCHITECTURE | YEAR 4

All structural members will originate as carcassing timber off cuts, with the smallest lengths repurposed as packing between layers.

INN

OVA TIO

ETIN

C R EEP Y- C R AW L I E S

R E PA I R

Fathimath Ema Ziya fathimathemaziya@gmail.com

TUTOR :

BIK EN CH KIT GS

HIN

O RY

LIB

lifetifree repame irs

ALL OTM E

ECODESIGN

NTS

ECODESIGN

PR OF

THE

DR YIN

RE STO

SIO

RV IS

R : S E THUOTW OE R L’ SL-NPARM T U T O R : T U TEOLY I CEEI

E LY S E H O W E L L- P R I C E

With 1 in every 4 insects being threatened with extinction and the biodiversity and climate crisis we face today, it is critical to value all parts of nature - even the tiny creepy crawlies.

matthewsmale27@gmail.com matthewsmale27@gmail.com

RV IS

ing knitt n - ir mo - cho s uts tue - sco pong g d we - pin show l r thu schoo fri

A BUG SANCTUARY AND RESEARCH CENTRE IN CAMDEN

D U A L P R O J E C TT IINNDDIIVVII D

INDIVIDUAL PROJEC T

LIB

Matthew Smale Smale Matthew

HIN

YO AR

722

BSC ARCHITECTURE | YEAR 4

SOLEIN

U N I V E R S E I N A B AT H T U B Eric Chan

myershenry@outlook.com

ericchan226@gmail.com

FOOD OUT OF THIN AIR

A N E G A L I TA R I A N P E O P L E ’ S PAL ACE

INDIVIDUAL PROJEC T

Henry Myers

TUTOR :

The design targets the crucial relationship between the public and these two types of food production. At street level, the Solein factory makes a bold statement along Chalk Farm Road to engage passers-by and reinforce the historic line of the ‘Great Wall of Camden’. The northeast corner is anchored by public functions such as the ‘Future Food Bar’ and takes visitors up to first floor level, where the composition of three forms, factory, greenhouse and public functions is intertwined by open public space that acts as an extension to Camden Market via a new bridge. 73

The new public bathhouse aims to create an egalitarian social space without hierarchy, a democratic space which embraces conflict and disagreement. It challenges the atomisation and isolation advocated by contemporary identity based consumerism and promotes the sense of collective and community. The potential of water is to be fulfilled in creating a space for bathers to contemplate and fall into reveries with a sense of spirituality lying at the core of the experience. The building demonstrates a sustainable and respectful relationship between human and water with the introduction of Regent’s Canal’ water into the bathhouse through a natural filtration system embedded into the landscape.

E LY S E H O W E L L- P R I C E

The project seeks to change perceptions about new food technologies. Solein is a revolutionary protein produced using microbes combined with minerals and oxygen, hydrogen, carbon dioxide and nitrogen extracted from the air. Having been fermented in a process similar to brewing beer, the product is dried to create a nutritous powder that can be used in a variety of foods. Generating 1% of the carbon emissions of beef per kg of protein, the process is incredibly land and water efficient and negates the need for pesticides. Our diet will still need fruit and vegetables, but the production of this can also be threaded through our cities.

The culture of communal bathing is a timeless edifice around the world. From the Roman Baths to the Japanese Sentos, different civilisations all transcended the bodily necessity of bathing to a cultural choice in which social interaction is key. In contemporary society in which identity politics are prevalent and social disparities are aggravated by social media, communal bathing proposes an tangible environment to shed our individuality and bring us into proximity, into the theatre of everyday life in which everyone sees eye-to-eye.

TUTOR :

E LY S E H O W E L L- P R I C E

How should we feed our cities in a time of climate and ecological crisis?

BSC ARCHITECTURE | YEAR 4

SOLEIN

U N I V E R S E I N A B AT H T U B Eric Chan

myershenry@outlook.com

ericchan226@gmail.com

FOOD OUT OF THIN AIR

A N E G A L I TA R I A N P E O P L E ’ S PAL ACE

INDIVIDUAL PROJEC T

Henry Myers

TUTOR :

E LY S E H O W E L L- P R I C E

TUTOR :

E LY S E H O W E L L- P R I C E

How should we feed our cities in a time of climate and ecological crisis?

BSC ARCHITECTURE | YEAR 4

CAMDEN WHARF PRIMARY

Nick Ratcliffe

Nina White

nick@ratcliffe.co

nlwhite29@hotmail.com

COMMUNITY MUSIC CENTRE FOR THE HE ARING IMPAIRED

DESIGNING FOR NEURODIVERSITY

A common misconception is that deaf individuals cannot ‘hear’ or positively engage with music. They experience sound in ways which differ from a hearing person; through a multi-sensory approach to appreciate music. Removing barriers to access to music is important to ensure equal access to facilities, resources and opportunities.

We are in a time of increased awareness of the traits which make us unique. As a result there is an increasing demand, particularly within the school environment, a space where children spend a large portion of their day, to better accommodate and respond to comfort requirements. For children with neurodivergent traits, in particular Autism Spectrum Disorders who benefit from calm, familiar and low-stimuli environments, school can be a large source of distress. Ultimately by prioritising these aspects within the design of schools, the result is a learning environment which benefits all, abandoning the traditional one fits all philosophy.

TUTOR :

Chalk Farm Studios is a proposal for a music centre designed specifically for the requirements of the hearing impaired community, located on a street adjacent to The Roundhouse in Camden. It comprises a 450 seat auditorium, designed with a seating arrangement on arcs for increased spatial awareness and proximity to the performers. Rehearsal spaces, recital hall, offices and cafe for the community are also included. A triple height atrium at the centre of the plan facilitates movement between spaces while providing a visual awareness of all floors. 75

As a result, Camden Wharf Primary has been designed around 3 key principles; creating familiarity, prioritising environmental comfort and providing sensory refuge within an urban landscape. The building emulates the scale and form of the local residential typology, creating 5 school ‘houses’ grouped into KS1, KS2 and staff zones which not only creates a sense of ownership for the students, but also familiarity and a ‘home from home’. All learning zones accommodate sensory de-stimulation through the integration of break-out space and direct access to nature.

E LY S E H O W E L L- P R I C E

Hearing impairments impact the way deaf individuals experience the built environment with a heavy reliance on vision and touch for spatial awareness and orientation due to their limited sensory range. There is an importance on visual way finding, enlarged circulation and clear lines of sight, as well as a consideration for materiality, textures and acoustics.

TUTOR :

E LY S E H O W E L L- P R I C E

INDIVIDUAL PROJEC T

CHALK FARM S T UDIOS

BSC ARCHITECTURE | YEAR 4

CAMDEN WHARF PRIMARY

Nick Ratcliffe

Nina White

nick@ratcliffe.co

nlwhite29@hotmail.com

COMMUNITY MUSIC CENTRE FOR THE HE ARING IMPAIRED

DESIGNING FOR NEURODIVERSITY

TUTOR :

E LY S E H O W E L L- P R I C E

TUTOR :

E LY S E H O W E L L- P R I C E

INDIVIDUAL PROJEC T

CHALK FARM S T UDIOS

Xiaoqi Zhang

Yue Ying

Wenjun Wei

Ying Tung Fong

Kwan-Chak Man

Xinran Guo

Frederica Brito E Cunha

Dymitr Ignatiuk

T U T O R : J AY N E B A R L O W

Xiaoqi Zhang

Yue Ying

Wenjun Wei

Ying Tung Fong

Kwan-Chak Man

Xinran Guo

Frederica Brito E Cunha

Dymitr Ignatiuk

T U T O R : J AY N E B A R L O W

BSC ARCHITECTURE | YEAR 4

C O L A Z I O N E S U L L’ E R B A

Kwan-Chak Man

Dymitr Ignatiuk

kcmman00@gmail.com

dimitriignatiuk@hotmail.it

A TEX TILE’S REC YCLING CENTRE FOR CAMDEN

BRE AKFA S T ON THE GR A SS

At ground level, a sequence of courtyards negotiates between the city and the Regent’s Canal; the design mediating between the two distinct conditions. A new steel structure weaves around the site’s found conditions - creating a series of enclosures, within the existing fabric, for the programme’s different activities to take place. Three figures rise out of the main massing - each one (articulated in a different way) assists in the environmental performance of the textiles’ recycling and repair process. During the night, these figures glow indelibly along the canal edge; the centre asserting itself within the urban landscape, calling out to the city beyond.

Integrated into both an existing city farm and a proposed railway-side farming network on the scale of London, the facility collaborates with local hospitals and secondary schools, undertaking nutrition-educational initiatives while offering clinical support for teenagers diagnosed with eating disorders. Structuring itself as a self-contained city in miniature, the scheme exploits its programmatic complexity to generate a family of diversified environments, questioning institutional conventions of health care facility design. The intention is to confront the romanticised English cultural construct of the rural, together with London’s alienation from its food sources. Animals and crops are led to share spaces with humans, instead of receding into the contemporary idea of nature that exists only in the imagination. Juxtapositions between spatial conditions are choreographed to create a heightened perception of the body in space, resisting against the processes of estrangement from human nature inherent in capitalism.

J AY N E B A R L O W

TUTOR :

‘Making do’, ‘going without’ and working with the ‘as found’. Through the re-use of the site’s existing buildings, the project seeks to address the relationship between fashion, waste and the city. The design challenges our desire for the new; proposing an alternative attitude to both the builtenvironment and the clothes we wear: one that finds value in a collage of disparate elements that would otherwise be disregarded as worthless.

TUTOR :

J AY N E B A R L O W

INDIVIDUAL PROJEC T

PAT C H W O R K

BSC ARCHITECTURE | YEAR 4

C O L A Z I O N E S U L L’ E R B A

Kwan-Chak Man

Dymitr Ignatiuk

kcmman00@gmail.com

dimitriignatiuk@hotmail.it

A TEX TILE’S REC YCLING CENTRE FOR CAMDEN

BRE AKFA S T ON THE GR A SS

J AY N E B A R L O W

TUTOR :

J AY N E B A R L O W

INDIVIDUAL PROJEC T

PAT C H W O R K

BSC ARCHITECTURE | YEAR 4

CITY ROOM

Suki Yingtung Fong

Yue Ying

sukifong2019@gmail.com

yueyingemily@gmail.com

T HE U R B A N H AV EN F O R LONGEVIT Y

A N E X P E R I M E N TA L T H E AT R E

TUTOR :

Tai Chi is a gentle form of martial arts which helps promote healthy lifestyle. Not only does it focus on the physical form of strength and flexibility, but also creates mindful and spiritual balance. This scheme provides a protected courtyard for martial arts practice, as well as indoor studios and training grounds. Approaching the building from the Regents Canal footpath, the cafe provides a communal setting for the public. On the other hand, private therapy services, self-reflection and meditation spaces can be found as visitors experience the building by gradually stepping up to the tower, where the cityscape could be discovered.

The city room project locates at the centre of King’s Cross development area. The cultural diversity of the Camden and City of London gives the site a rich potential for public activities. The scheme tests the limit of the function of a public square and multiple forms of performing spaces. The outdoor auditorium, under a space frame with ETFE, is capable of holding a variety of public events such as exhibitions, concerts, open cinemas and ceremonies. The project explores multiple forms of theatres. It can adapt to different types of performance by operating the flexible wall elements. When the bifolding and pivot walls are open, the amphitheatre and thrust theatre integrate into an in-a-round theatre which holds large performance such as music festivals.

J AY N E B A R L O W

Prevention and early diagnosis are key factors in maintaining good health. The scheme is a wellness centre which provides regulated complementary therapy services. In addition to highly demanded conventional GP and nationalised hospital services, this scheme would reduce the risks of health issues within the community and decrease the pressure on the classical curring institutions. The proposal is to build in the centre of Camden, a dense, cosmopolitan and diverse urban environment to benefit the largest amount of users.

TUTOR :

J AY N E B A R L O W

INDIVIDUAL PROJEC T

THE MAW CENTRE

The building provides students with a wide range of performing arts education, from performance to behind the scenes. The scheme provides them a chance to perform in front of the audience.

BSC ARCHITECTURE | YEAR 4

CITY ROOM

Suki Yingtung Fong

Yue Ying

sukifong2019@gmail.com

yueyingemily@gmail.com

T HE U R B A N H AV EN F O R LONGEVIT Y

A N E X P E R I M E N TA L T H E AT R E

TUTOR :

J AY N E B A R L O W

TUTOR :

J AY N E B A R L O W

INDIVIDUAL PROJEC T

THE MAW CENTRE

The building provides students with a wide range of performing arts education, from performance to behind the scenes. The scheme provides them a chance to perform in front of the audience.

BSC ARCHITECTURE | YEAR 4

NETWORK FREDERICA BRITO E CUNHA FTRGBE20@bath.ac.uk

TAT H A G ATA Xinran Guo vesperg2683@gmail.com INDIVIDUAL PROJEC T

INDIVIDUAL PROJEC T

NETWORK IS A PROJECT ABOUT DISMISTIFYING THE POWER OF FUNGHI. IT AIMS TO BRING THE LOCAL COMMUNITY TOGETHER TO COLLECTIVELY EXPLORE FUTURE POSSIBILITIES. NETOWRK IS A PLACE TO GATHER, LEARN AND EVOLVE, A PLACE WHERE SCIENCE AND ART COME TOGETHER AS ONE.

Tathagata is a hospice specially designed for the elderly with a terminal illness. It provides physical, psychological and spiritual support to both the elderly and their families. It is a place to live well, die well and be remembered.

TUTOR :

J AY N E B A R L O W

The scheme is developed based on three key concepts: 1. Integrate nature into the elderly’s daily life from all scales. 2. Provide opportunities for the elderly to make good memories with their families. 3. Use religion (Buddhism) to help the elderly eliminate the fear of death. Uniting individuals to form a bigger family is also a highlight of this project, which is enhanced by this unique roof design.

NETWORK IS A PLACE THAT IS CONCERNED WITH THE ENVIRONMENT AND THE WELLBEING OF THE LOCAL COMMUNITY. IT IS A HUB FOR GROUND-BREAKING RESEARCH, OPEN FOR THE EVER GROWING COMMUNITY

H O S P I C E F O R T H E E L D E R LY

TUTOR :

J AY N E B A R L O W

LEARING WITH MYCELLIUM

Tathagata is a gift to my beloved grandpa, a fulfilling end to my undergraduate study and an exciting start to a new chapter in life. I am incredibly grateful to those who have dedicated time to assist me with this project. Thank you all for making me a better version of myself. Tathagata, who has thus not gone.

BSC ARCHITECTURE | YEAR 4

NETWORK FREDERICA BRITO E CUNHA FTRGBE20@bath.ac.uk

TAT H A G ATA Xinran Guo vesperg2683@gmail.com INDIVIDUAL PROJEC T

INDIVIDUAL PROJEC T

TUTOR :

J AY N E B A R L O W

NETWORK IS A PLACE THAT IS CONCERNED WITH THE ENVIRONMENT AND THE WELLBEING OF THE LOCAL COMMUNITY. IT IS A HUB FOR GROUND-BREAKING RESEARCH, OPEN FOR THE EVER GROWING COMMUNITY

H O S P I C E F O R T H E E L D E R LY

TUTOR :

J AY N E B A R L O W

LEARING WITH MYCELLIUM

BSC ARCHITECTURE | YEAR 4

SCULPO

BEE BRICK

SEDUM ROOF

RAIN GARDEN

LINEAR SWALE

WILD FOREST

POND

ANIMAL TOWER

FORAGE Wenjun Wei

xiaoqiz024@gmail.com

ww589@bath.ac.uk

RECEPTION HALL

RESTAURANT

FIRST PROCESSING WORKSHOP

INDIVIDUAL PROJEC T

Xiaoqi Zhang

CELLAR & ANIMAL TOWER

TUTOR :

The scheme intends to re-establish an organic slow-paced lifestyle, rebuild the connection between people&society&nature, emphasize the origin and processing of food, and promote a healthy diet by proposing a forage kitchen garden in one of the most vibrant and busy districts in London, Camden.

Locating in between the busy Avenue street and the tranquil Swiss Cottage Open Space, the Sculpo forms a connection between the city and the landscape. The design responds to the different qualities of the city and the nature and dissolves the vast site in the continuous transition between external and internal studio spaces. The level change between each studio acts as if to remind people to slow down their pace and enjoy the moment. The studios are opened to the public regularly for people to visit the artists’ working environment. It is a perfect device to help alleviate the array of the social issues facing the older population of Camden and form a vital link in the community.

The main layout is inspired by the surrounding typography, specifically the massing rhythms of the St Pancras railway station and rail line. The massing is grouped into three parts connected by foraging routes and gardens. The value of transportation is expressed through the trolley rail line, which helps with garden harvesting. The material choice of corten and brick responds to both the physical and historical context of the site. The design concept is to blur the boundary between building and nature through spatial transparency, the conversation between indoor and outdoor space, and the balance of the ecosystem.

The site that celebrates the Camden and Kings Cross history the most is the Camley street natural park, located at the West end of the King’s Cross Growth area - an urban oasis bounded by the railway, canal, and road.

J AY N E B A R L O W

KITCHEN GARDEN

The Sculpo, a new community sculpture centre for Camden, is targeted to address the growing concerns of the elderly group of the society through the process of making. The therapeutic nature of making that allows one to focus on the presence is demonstrated to have an instrumental effect on the severer insecurity felt by the elderly due to the pandemic. The centre will provide facilities that enable daily sculpture workshops with various natural and recycled materials. Not only reducing the consumption of resources, but the ephemeral nature of the sculptures highlights the idea of living in the moment.

TUTOR :

J AY N E B A R L O W

COMMUNITY LIVE IN THE MOMENT

BSC ARCHITECTURE | YEAR 4

SCULPO

BEE BRICK

SEDUM ROOF

RAIN GARDEN

LINEAR SWALE

WILD FOREST

POND

ANIMAL TOWER

FORAGE Wenjun Wei

xiaoqiz024@gmail.com

ww589@bath.ac.uk

RECEPTION HALL

RESTAURANT

FIRST PROCESSING WORKSHOP

INDIVIDUAL PROJEC T

Xiaoqi Zhang

CELLAR & ANIMAL TOWER

TUTOR :

J AY N E B A R L O W

KITCHEN GARDEN

TUTOR :

J AY N E B A R L O W

COMMUNITY LIVE IN THE MOMENT

Junsoo Pak

Emily Jerjian

Juliette Moutin

Emelie Speak

Isabel Atkinson

Jenna Bailey

Arun Nair

Francesca Wren

T U T O R : J O N AT H A N L O G S D O N

Junsoo Pak

Emily Jerjian

Juliette Moutin

Emelie Speak

Isabel Atkinson

Jenna Bailey

Arun Nair

Francesca Wren

T U T O R : J O N AT H A N L O G S D O N

BSC ARCHITECTURE | YEAR 4

NOURISHMENT

Arun Nair

Francesca Wren

Arun980Nair@gmail.com

francescawren1@gmail.com

SHARING THROUGH CRAFT

A H E A LT H A N D N U T R I T I O N CENTRE

TUTOR :

The scheme can be simplified down to 3 key spaces: a workshop, a community centre, and incubation units. All of which are co-dependent. At the heart of the building lies the working yard, in which the incubation units and workshop spaces spill out. As the scheme celebrates craft, the tectonics of the building have been carefully considered. The timber structure and servicing are highlighted internally. The environmental strategy limits the use of mechanical systems as much as possible and as such the building employs a fabric first approach. It also uniquely repurposes an existing fire drill tower as a “wind catcher”, taking advantage of the wind and stack effect to passively provide the high air change rates required by the workshop and incubator unit spaces.

The scheme is located in Somers Town, one of the UK’s most deprived areas. The centre is aimed at families and individuals suffering from a damaged relationship with food. Through experiencing, teaching and understanding, the centre nourishes the body and the mind. The structure has been stratified along these principles, with each floor providing a different interaction. The ground speaks of the culinary experience, the first of the composition of food and the third of its psychological impact. Based on the concept of clarity, the proposal suggests honesty and understanding in its spaces, relating back to the educational and healing purpose of the structure. The central hall acts as the heart of the centre, allowing the ground and first floors to interact. Their activities become shared, and the learning experience enhanced. This lower level connection allows the therapy space to sit above in a more private, intimate and safe setting.

JONNY LOGSDON

Located in the heart of Kentish town, the project combats the pertinent Issues of adolescent unemployment and aimlessness among the rising older population. Issues which are tackled by providing a creative social space in which intergenerational partnerships are formed, which can develop into self-sustaining businesses, and contributing to a sense of purpose.

TUTOR :

JONNY LOGSDON

INDIVIDUAL PROJEC T

THE GARDEN SHED

A key part of the design has been creating a stepped park with defined zones of sensory and edible planting. The garden connects to the hall and they become one. The structure is part of the landscape.

BSC ARCHITECTURE | YEAR 4

NOURISHMENT

Arun Nair

Francesca Wren

Arun980Nair@gmail.com

francescawren1@gmail.com

SHARING THROUGH CRAFT

A H E A LT H A N D N U T R I T I O N CENTRE

TUTOR :

JONNY LOGSDON

TUTOR :

JONNY LOGSDON

INDIVIDUAL PROJEC T

THE GARDEN SHED

BSC ARCHITECTURE | YEAR 4

A H O M E AWAY F R O M H O M E

Emily Jerjian

Isabel Atkinson

emilyjerjian@sky.com

atkinson.isabel@gmail.com

EXPOSING THE MALE GAZE

THERAPY CENTRE FOR S T U D E N T W E L L- B E I N G A N D LEARNING

TUTOR :

Reclamation proposes using art as an educational and therapeutic vehicle to address the history of the male gaze, the associated sexual objectification of women and sexual violence against women in London today. The scheme provides non-judgemental and non-directive gallery and studio spaces, creating a safe haven for the dual experience of learning and recovery. This building aims to open the eyes of its users to the female perspective.

Bloomsbury’s Therapy Centre For Student Wellbeing and Learning will specialise in providing mental health support for local students between the ages of 16 and 24. It will strive to address the mental health crisis caused by the pandemic by offering a unique therapeutic experience - a ‘home away from home’. A welcoming atmosphere will encourage these young people to reach out for help through the centre, thus relieving pressures on local mental health support centres that are currently both oversubscribed and struggling. The Therapy Centre will also offer a training facility for students interested in pursuing a career in clinical psychology and will become part of UCL’s nearby Department of Psychology and Language Sciences; it will have a series of seminar rooms, a library and a larger hall space for external lecturers, debates or other related events.

JONNY LOGSDON

In the art history world, the female nude has always been a popular subject matter but has too often been depicted with sexual and erotic overtones for the pleasure of the heterosexual male viewer. Today, the essential way of seeing women and how our images are used, has not changed and if we try to talk about masculinity, patriarchy or male privilege, the conversations are often derailed by accusations. The male experience is universal whilst the female is seen as niche.

TUTOR :

JONNY LOGSDON

INDIVIDUAL PROJEC T

R E C L A M AT I O N

A focus on research within this educational facility, as supported by the Mental Health Foundation, should inspire enrolled students to discover new ways to treat and manage mental health issues. Their findings can directly benefit the adjacent intimate therapy spaces.

BSC ARCHITECTURE | YEAR 4

A H O M E AWAY F R O M H O M E

Emily Jerjian

Isabel Atkinson

emilyjerjian@sky.com

atkinson.isabel@gmail.com

EXPOSING THE MALE GAZE

THERAPY CENTRE FOR S T U D E N T W E L L- B E I N G A N D LEARNING

TUTOR :

JONNY LOGSDON

TUTOR :

JONNY LOGSDON

INDIVIDUAL PROJEC T

R E C L A M AT I O N

BSC ARCHITECTURE | YEAR 4

CAMDEN OPEN ART STUDIO

Juliette Moutin

Junsoo Pak

juliette.moutin@gmail.com

jun56984@gmail.com

A CENTRE PROMOTING A C C E S S T O H E A LT H Y F O O D

A PL ACE TO PROMOTE AND C R E AT E A R T

épanouie /e.pa.nwi/ adjective. French: [person, flower] blooming, blossoming

The principal idea of the proposal is the formation of a community via enthusiasm for art.

TUTOR :

Paying homage to the industrial heritage of the site, the scheme brings a new mode of production to Camden, suited to modern concerns of sustainability. Like the chimney stack of a factory, the hydroponics tower rises from the main building and acts as beacon at the edge of the canal. The usual solidity of factories is retained at the base of the building but disappears as the greenhouse rises up, playing with transparency along the facade. The community garden, the greenhouses, and the hydroponics tower all converge towards the farmers’ market where produce is sold and then makes its way into the homes and onto the plates of community members.

To promote artists and their artworks, spacial hierarchy should not occur. In order to achieve the effect, the external staircase is considered. The stair connects all the building’s accommodations, that are disconnected by floors and walls. The journey up the stairs is designed to be rewarded with the change of the indoor scenery and the open horizon. This building is a place for the artists to be experimental and creative with their art. To achieve a rough, robust and industrial atmosphere, the building materials and finishes were carefully considered: the exposure of steel structure and its connections, reclaimed brick walls, concrete flooring, and saw-tooth roofs.

JONNY LOGSDON

In an area at risk of gentrification, where disparities and the ongoing cost of living crisis put people at risk of food insecurity, a community foothold aims to provide access to fresh produce while educating members of the public on growing in an urban environment.

To draw the vital attraction from the general public, it provide its most visible wall as a canvas for artists. The wall is propped up against a building, like a canvas on an easel, and the main entrance of the building is formed under the slanted wall.

TUTOR :

JONNY LOGSDON

INDIVIDUAL PROJEC T

ÉPANOUIE

BSC ARCHITECTURE | YEAR 4

CAMDEN OPEN ART STUDIO

Juliette Moutin

Junsoo Pak

juliette.moutin@gmail.com

jun56984@gmail.com

A CENTRE PROMOTING A C C E S S T O H E A LT H Y F O O D

A PL ACE TO PROMOTE AND C R E AT E A R T

épanouie /e.pa.nwi/ adjective. French: [person, flower] blooming, blossoming

The principal idea of the proposal is the formation of a community via enthusiasm for art.

TUTOR :

JONNY LOGSDON

TUTOR :

JONNY LOGSDON

INDIVIDUAL PROJEC T

ÉPANOUIE

BSC ARCHITECTURE | YEAR 4

REPAIR

Emelie Speak

Jenna Bailey

emelie.speak@hotmail.com

jenna.h.bailey@gmail.com

D E M E N T I A D AY C E N T R E

A COMMUNITY WORKSHOP T O E L I M I N AT E WA S T E

INDIVIDUAL PROJEC T

RESPITE

TUTOR :

A safe and nurturing environment within the building to put those with dementia at ease A centre that approaches dementia with dignity and respect A research facility that works collaboratively with the day care centre A centre that reconnects people with dementia to their community

The scheme celebrates sustainable resources, with a engineered timber superstructure, and exposed interlocking glulam columns and beams celebrating craftsmanship. The centre utilises wide circulation pathways, allowing visitors to move easily between different spaces, and gain an experience of the whole building to inspire further exploration. Visitors enter directly into the library of things, built into the atrium as a unique gallery of tools and equipment to support the effort to consume sustainably. From the library they may access the workshop, where unwanted items can be upcycled and broken items can be fixed, the drop off repair shop if they do not have time to repair themselves, and the canal-side yard – where making spills out form the workshop.

JONNY LOGSDON

Enter, a Dementia Day Care Centre that is architecturally tailored to people with dementia, combined with a dementia research facility, where the two building typologies co-exist and mutually benefit each other. A centre that ensures the well-being of both people with dementia and their caregivers.

The way we consume resource is not sustainable. Every day, humanity leaves behind a huge amount of waste, that despite our attempts to recycle is not getting any smaller. The Camden Repair Workshop allows its visitors to make use of their waste and make a positive contribution to the resolution of the climate crisis.

TUTOR :

JONNY LOGSDON

1 in 6 people over 80 are diagnosed with dementia, a staggering statistic that demands action. Despite the impact of this illness, proper resources to help with the care of people with dementia are difficult to find.

The upper floors of the scheme support education and community development with spaces including a beginner’s workshop, event hall, school studio and private classrooms.

BSC ARCHITECTURE | YEAR 4

REPAIR

Emelie Speak

Jenna Bailey

emelie.speak@hotmail.com

jenna.h.bailey@gmail.com

D E M E N T I A D AY C E N T R E

A COMMUNITY WORKSHOP T O E L I M I N AT E WA S T E

INDIVIDUAL PROJEC T

RESPITE

TUTOR :

JONNY LOGSDON

TUTOR :

JONNY LOGSDON

The upper floors of the scheme support education and community development with spaces including a beginner’s workshop, event hall, school studio and private classrooms.

Daniela Mishieva

Niamh Quigley

Nicola Maclean

Ella Harding

Saorla Hanley

Edward Davison

Noa Bashan

Ella Bowen

TUTOR : JULIA K ASHDAN-BROWN

Daniela Mishieva

Niamh Quigley

Nicola Maclean

Ella Harding

Saorla Hanley

Edward Davison

Noa Bashan

Ella Bowen

TUTOR : JULIA K ASHDAN-BROWN

BSC ARCHITECTURE | YEAR 4

HEAL

[this is a sample layout, max 8 images]

CONEXIO Nicola Maclean

hardingella77@gmail.com

nickimaclean@yahoo.com

RECOVERY CENTRE FOR CAMDEN

A COMMUNITY CENTRE FOR AERIAL ARTS IN CAMDEN

The Recovery Centre is a proposed modern healing centre on the site of St Pancras Hospital to replace the outdated mental health care buildings existing on site. The Centre promotes a holistic approach to mental health care, from crisis point to recovery, through a variety of therapies and interventions all based in a calm and tranquil setting, designed to have a positive impact on well-being. The massing of the building is derived from one singular form so that all the functions are ‘under one roof’ and are designed around a central mindfulness garden. The Recovery Centre is accessible to anyone, whether they are a service user or a local resident wanting to learn more about looking after their mental health and wellbeing.

Conexio seeks to embrace human movement ecology, providing a facility for young people to connect to their environment and to their inner emotions through movement. The provision of an aerial arts facility for young people seeks to teach them new skills in a supportive, enjoyable and inclusive manner. The scheme seeks to provide free facilities for children and young people who are being left behind as the monetisation of sport facilities in London expands. Along with this, Conexio provides facilities for the wider community with a flexible communal hub, yoga studios and productive gardens. At its heart, Conexio provides a holistic approach to health in young people, stemming from activity, nutrition and community.

TUTOR :

JULIA K ASHDAN-BROWN

The scheme echoes the industrial history of the site, doing so in a manner that respects the need for climate action. The primary structure is a glulam frame with the use of hemp for insulation (hempcrete and hemp-fibre) and cladding (corrugated hemp panels). The building design holds sustainability at its heart, providing a facility for strong, healthy communities to grow whilst protecting our environment. Ultimately, Conexio encourages us to use movement to connect purposefully with both ourselves and our surroundings.

TUTOR :

JULIA K ASHDAN-BROWN

INDIVIDUAL PROJEC T

Ella Harding

10 0

BSC ARCHITECTURE | YEAR 4

HEAL

[this is a sample layout, max 8 images]

CONEXIO Nicola Maclean

hardingella77@gmail.com

nickimaclean@yahoo.com

RECOVERY CENTRE FOR CAMDEN

A COMMUNITY CENTRE FOR AERIAL ARTS IN CAMDEN

TUTOR :

JULIA K ASHDAN-BROWN

TUTOR :

JULIA K ASHDAN-BROWN

INDIVIDUAL PROJEC T

Ella Harding

10 0

BSC ARCHITECTURE | YEAR 4

C R E AT E

SLOW FAC TO RY DE SIGN WORKSHOPS

Ella Bowen

Ed Davison

ellabowen24@gmail.com INDIVIDUAL PROJEC T

VECTORWORKS EDUCATIONAL VERSION

The programme of the building is based around the slow and cheap transport of recycled and low energy materials by barge along Regent’s Canal and beyond. The public-facing parts of the building form a kind of shop window onto Royal College Street, the street of Listed houses that the building plugs into.

VECTORWORKS EDUCATIONAL VERSION

Store

The proposal provides three different functions to aid the community: public spaces containing a cafe, shop, multi-use space; a series of art workshops and studios; and an art therapy centre to combat increasing rates of serious mental illnesses. All are based around art - the means by which the community is strengthened. The building focuses on connection, with an outdoor timber cloister joining all three areas, and two courtyards, allowing members of the public and artists to move freely and conveniently between spaces.

Materials processing

Key public spaces are formed on the ground floor as making spaces spill into external areas and cross with routes through the site. The primary functions of the building are arranged facing the canal along the main spine of the building, with digital fabrication labs and a wood shop on the ground floor and the main education spaces on the first floor and artists occupy top-floor studios and terrace.

Plant

Wood shop

Workshops

Store

Digital Fabrication

Workshops

Artist residence

Gallery Office Gallery

Prototyping space

Library and learning commons

Making spaces are designed to be hard-wearing around an open plan to maximise the cross-over of people. The plan is shallow to allow maximum penetration of natural light and cross-ventilation with views onto working spaces to the city beyond. The massing and scale are inspired by historic shop-house typologies and the vernacular architecture of pre-industrial cottage industries.

Break-out space Shop

Exhibition

The building is made from load bearing porotherm clay blocks, glulam and CLT, creating an efficient and robust structure. The building has a series of glulam and steel trusses supporting a pitched roof system, inspired by the site’s industrial past while also allowing for north and south light into the studios.

14 M

Shared office/studio

College Street Bridge

JULIA K ASHDAN-BROWN

TUTOR :

DESIGN INSITUTE AND MAKING SPACE S

St Pancras and Somers Town, Camden, has an important industrial past, but also the highest level of deprivation in the borough, which has lead to increased rates of mental health issues. The area currently feels distant from the centre of Camden, and lacks community support.

TUTOR :

JULIA K ASHDAN-BROWN

CAMDEN ART STUDIOS

INDIVIDUAL PROJEC T

ed.davison6@gmail.com

Store Plant

RO YA L CO LL EG E ST

Studios

RE ET

Gray's Inn Bridge

101

102

Studios

Gallery

Terrace

50 M

BSC ARCHITECTURE | YEAR 4

C R E AT E

SLOW FAC TO RY DE SIGN WORKSHOPS

Ella Bowen

Ed Davison

ellabowen24@gmail.com INDIVIDUAL PROJEC T

VECTORWORKS EDUCATIONAL VERSION

Store

Materials processing

Plant

Wood shop

Workshops

Store

Digital Fabrication

Workshops

Artist residence

Gallery Office Gallery

Prototyping space

Library and learning commons

Break-out space Shop

Exhibition

14 M

Shared office/studio

College Street Bridge

JULIA K ASHDAN-BROWN

TUTOR :

DESIGN INSITUTE AND MAKING SPACE S

TUTOR :

JULIA K ASHDAN-BROWN

CAMDEN ART STUDIOS

INDIVIDUAL PROJEC T

ed.davison6@gmail.com

Store Plant

RO YA L CO LL EG E ST

Studios

RE ET

Gray's Inn Bridge

101

102

Studios

Gallery

Terrace

50 M

BSC ARCHITECTURE | YEAR 4

HIDDEN GARDENS

Noa Bashan

Daniela Mishieva

noa.bashan00@gmail.com

danamishieva@gmail.com

N AT U R E , P E O P L E , S C I E N C E

The ultimate purpose of the building is to limit the language barriers which exist within our population and which hinder our ability to interact with one another. The aim is reflected architecturally through the theme of transparency, which can be experienced throughout the entire scheme. This design incorporates a seamless transition between indoor and outdoor spaces, as each internal zone on every floor level has an external equivalent. In essence, the building hopes to inspire its users to apply what they learn indoors into their everyday lives outdoors. Being a key feature of the design, the rhythmic characteristic of the glazed facade ties the building together. The pronounced presence of the internal and external vertical fins reflect the building’s architectural agenda, portraying barriers; they structurally support the building, functioning as load bearing columns; and they are designed to act as shading devices for environmental benefits. Overall, demonstrating how the building design incorporates a holistic and comprehensive approach.

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As one enters the Hidden Gardens they are overwhelmed with the greenery, it feels up the courtyard, it peeks out through the glasshouses, and it grows over the building. Each glasshouse - Tropical, Mediterranean and “Water Alchemy” gardens bring exoticness to the scheme. The latter is dedicated to recycling wastewater through biological process, that is exposed to the public to learn about. The other greenhouses are there to revive the concept of man and nature as one and to educate people about the wonders of the plant world. The Hidden Gardens, additionally to the greenhouses has Botanical Research and Visitor’s Center. The former, facilitates spaces like laboratories, seed bank and herbarium, and concentrates on fungai and plant research focused on conserving biodiversity and exploring the beneficial qualities of plants and fungi which provide significant benefits to society. Whilst the latter is there for the visitors’ use and enjoyment, offering spaces like café, exhibition room and auditorium. There is an essential visual connection between the Research and Visitor’s Center, so the public can also have an awareness of the carriedout research.

JULIA K ASHDAN-BROWN

TUTOR :

Situated in central Camden, the Language School’s educational program and social agenda seeks to bridge between the international and local community as it provides a space where individuals cant interact with one another, learn from each other and build upon an inclusive and inviting society.

TUTOR :

JULIA K ASHDAN-BROWN

LIMITING LANGUAGE BARRIERS.

Within a busy urban setting of the Camden Town, an oasis is hidden in between the buildings. As one passing by the project they get the glimpses of the green and lively interior through openings in the “defensive” wall that runs along the perimeter of the site. The wall doesn’t only serve the people that enter the premises of the Hidden Gardens but the pedestrians walking along it too, engaging them through openings and niches.

INDIVIDUAL PROJEC T

BARIÉRA

10 4

BSC ARCHITECTURE | YEAR 4

HIDDEN GARDENS

Noa Bashan

Daniela Mishieva

noa.bashan00@gmail.com

danamishieva@gmail.com

N AT U R E , P E O P L E , S C I E N C E

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JULIA K ASHDAN-BROWN

TUTOR :

JULIA K ASHDAN-BROWN

LIMITING LANGUAGE BARRIERS.

INDIVIDUAL PROJEC T

BARIÉRA

10 4

BSC ARCHITECTURE | YEAR 4

CARING

[this is a sample layout, max 8 images]

ONWARDS Saorla Hanley

niamh.quigley56@gmail.com

saorla.hanley@gmail.com

A COMMUNITY WELLNESS CENTRE

WEST HAMPSTEAD WOMEN’S CENTRE

The aim of this project was to create a space that promotes health and wellness for the community through providing areas for activities that encourage physical, mental and social wellbeing.

West Hampstead Women’s Centre is a community-oriented building that strives to help local women restore their independence. Providing a range of services to aid vulnerable women, such as clubs and activities, a crèche, counselling, and educational spaces, the centre hopes to free women from issues like domestic abuse.

TUTOR :

With four wings and a central garden, this community centre wants to be a space that people can move through and navigate with ease whilst always having that central space in sight to make ther way back to should they need it. This is not a space exclusively for elderly people or those requiring social care, but it is a space designed to genuinely include and cater to every member of the community.

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Situated within a safe area in West Hampstead, the centre rises three storeys across a sloped site. A public-facing element sits against the street, protecting a courtyard from open public access. Support services lie along the site’s east axis. The scheme focuses on connectivity, with windows into each space allowing women to gauge whether they feel comfortable entering a room before doing so. All support services are linked via a large atrium with a feature stair, promoting openness and allowing women to encounter others who may be using different services. All rooms have a view out to the courtyard, encouraging women to engage with others and providing a view to nature at all times to maximise its therapeutic benefits.

JULIA K ASHDAN-BROWN

There is a specific focus for this centre to cater to the elderly population and those with social care needs due to the adjacency of the site to an existing social care housing scheme. As a result, the centre is sensitively designed in plan as well as accommodation to provide spaces that promote low-impact activity sensitive to mobility issues or chronic pain, mentally and sensory stimulating activity and activity that encourages social interaction.

TUTOR :

JULIA K ASHDAN-BROWN

INDIVIDUAL PROJEC T

Niamh Quigley

The centre has been designed to help women open doors to a brighter future.

10 6

BSC ARCHITECTURE | YEAR 4

CARING

[this is a sample layout, max 8 images]

ONWARDS Saorla Hanley

niamh.quigley56@gmail.com

saorla.hanley@gmail.com

A COMMUNITY WELLNESS CENTRE

WEST HAMPSTEAD WOMEN’S CENTRE

The aim of this project was to create a space that promotes health and wellness for the community through providing areas for activities that encourage physical, mental and social wellbeing.

TUTOR :

105

JULIA K ASHDAN-BROWN

TUTOR :

JULIA K ASHDAN-BROWN

INDIVIDUAL PROJEC T

Niamh Quigley

The centre has been designed to help women open doors to a brighter future.

10 6

Christine Cheung

Felicity Fairclough

Sarah Binesmael

Ziqi Yang

Lok Tang

Lois Weedon

Yiting Sun

Anoushka Mathur-Fairfield

TUTOR : MARK

W AT K I N S

Christine Cheung

Felicity Fairclough

Sarah Binesmael

Ziqi Yang

Lok Tang

Lois Weedon

Yiting Sun

Anoushka Mathur-Fairfield

TUTOR : MARK

W AT K I N S

BSC ARCHITECTURE | YEAR 4

SOUNDTR ACK

Yiting (Alice) Sun

Chrissy Cheung

yitingsun929@gmail.com

christinecheung@outlook.com

NURSERY + CHILDREN CENTRE

CENTRE FOR MUSIC C R E AT O R S

The scheme combines an extension of a community children centre, providing ‘first-1001days’ programme for local kids and parents, with a 50-pupil nursery school, including a nature garden for forest education.

Camden Town is London’s heart of unorthodox, independent and brazen expression. Returning a historic thoroughfare between Camden High Street and Kentish Town Road, the Centre for Music Creators draws users both throughout and into the building with rhythmic textures wrapping around the building’s central array.

TUTOR :

NATURE IS TEACHER - Teaching curriculum consists only a section of children’s development, while the more important teacher is their learning process. Weaving around nature to promote the interaction with earth, trees, water and air which forms physical world. A ‘SHARED’ ROOF - The roof balcony is a vital link between children centre and nursery. Roof lights are introduced to allow better lighting across the deep site width, and as a playing facility in the form of slope. Growth on the shared roof, flying on the cloud of imagination.

From production, to careers progression and performance, each part of this building is facilitated towards our contemporary music creators. In the day, a variety of functions saturates the building with interaction and opportunity. By night, the building works actively with its venues, shining a spotlight onto the presence and celebration of music. Within communual and intimate to public and large scale spaces, social interaction and performance may be expressed and experienced in all manners worthy to Camden Town’s music scene, heritage and character.

T U T O R : M A R K W AT K I N S

M A R K W AT K I N S

INDIVIDUAL PROJEC T

GROWTH IN TREES

Corridors, secure corners, shelters stimulates children’s observation and exploration, to form protected regions for flourishing imaginative play. In this exploration base, children gain sense of secure and happiness of adventure, families share unforgettable memories of growing together.

10 9

110

BSC ARCHITECTURE | YEAR 4

SOUNDTR ACK

Yiting (Alice) Sun

Chrissy Cheung

yitingsun929@gmail.com

christinecheung@outlook.com

NURSERY + CHILDREN CENTRE

CENTRE FOR MUSIC C R E AT O R S

TUTOR :

T U T O R : M A R K W AT K I N S

M A R K W AT K I N S

INDIVIDUAL PROJEC T

GROWTH IN TREES

10 9

110

BSC ARCHITECTURE | YEAR 4

B AT T I M A M Z E L L E

PA S S A G E WAY

Anoushka Mathur-Fairfield

Cookkie Ziqi Yang

anoushka10mf@gmail.com

cookkie3kei@gmail.com

INDIVIDUAL PROJEC T

W E S T M I N S T E R K I N G S WAY COLLEGE HOUSE OF FA SHION DESIGN CAN ARCHITECTURE BE A C ATA LY S T F O R S O C I A L CHANGE?

TUTOR :

1. In our site visit, I found that Camden Town was being overtaken by touristy stores, diluting its unique culture. 2. In looking at the socioeconomic status of students, almost 50% faced financial difficulties. As a result these students were twice as likely to face mental health issues. Therefore, I decided to design an Art School with a focus on Photography, Film and Painting + Mixed Media, in an effort to capture Camden’s one-of-a-kind culture. Students would then have the opportunity to sell their artwork to visitors and thus generate an income, relieving potential financial stress. So to answer, ‘can architecture be a catalyst for social change?’ - I certainly hope so. In designing, I wanted to extend the public realm through the site and create a mini ‘Camden Lock Market’ within the viaducts where students’ artworks would be exhibited. Furthermore, in an

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Site proximity to the existing college, the neglected Listed St. George’s Garden and dim street front has turned into the sine qua non for the scheme to act as the ‘bridge’ reactivating interactions between the three. The dominating public pathway drives the neighbourhoods towards the precious historical green yard. The setting up of cloth-bank encourages local communities to opt to a recycle-based model on fashion consumption. The core of the scheme is on how fashion design could be delivered in an alternative way.

T U T O R : M A R K W AT K I N S

M A R K W AT K I N S

In developing the brief for this project, there were two main driving factors:

The proposed fashion design department for the adjacent Westminster Kingsway College aims to shape the future from educational perspectives under the current circumstances of unethical take-make-waste pattern of the fashion industry as a coterminous result of behaviours regarding the manufacturer and the consumer. The fashion design courses it offers are dedicated to sustainability-related studies, which are supported by a range of facilities within the scheme in assistance to students’ development of knowledges and understanding in the specific field. This is in light with opportunities and venues to express themselves, instances include the central street, clothes store and exhibition hall just to name a few.

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BSC ARCHITECTURE | YEAR 4

B AT T I M A M Z E L L E

PA S S A G E WAY

Anoushka Mathur-Fairfield

Cookkie Ziqi Yang

anoushka10mf@gmail.com

cookkie3kei@gmail.com

INDIVIDUAL PROJEC T

W E S T M I N S T E R K I N G S WAY COLLEGE HOUSE OF FA SHION DESIGN CAN ARCHITECTURE BE A C ATA LY S T F O R S O C I A L CHANGE?

TUTOR :

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T U T O R : M A R K W AT K I N S

M A R K W AT K I N S

In developing the brief for this project, there were two main driving factors:

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DA CAPO MUSIC CENTRE

THE CEL

Sarah Binesmael

Felicity Fairclough

sbinesmael@gmail.com

fgfairclough@gmail.com

INDIVIDUAL PROJEC T

C A M D E N A N I M AT I O N C E N T R E Cel

TUTOR :

STORY TELLING THROUGH MUSIC Music is a unique form of storytelling that creates a deeper sense of connection by transcending the visual and combining a multitude of senses. Da Capo Music Centre is a project aimed to inspire storytelling through music, taking its users on a musical journey that connects them to the world around them. The goal of the project is to make music accessible to everyone; people will automatically break the threshold of passing intimidating closed off walls as they find themselves in the centre of the building, as a new Transport for London (TFL) station entrance is placed in the heart of the scheme. The design was determined by acoustic requirements, and the TFL station and the main performance space is delicately connected on the upper floors with a lightweight and warm

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The contemporary animation industry influences the educational, political and commercial spheres. The UK itself is Europe’s second highest animation producer, with London boasting over 50% of its output. Yet this success has led to two key issues: outsourcing and a lack of transparency, exacerbated by over-consumption. The animation scene in Camden is a prime example of these issues. As such, my scheme pushes for the collaboration of the LIAF and Roundhouse, creating a physical hub which provides studio spaces focusing on smaller, more independent animators.

T U T O R : M A R K W AT K I N S

M A R K W AT K I N S

noun. short for celluloid, a transparent sheet on which objects are drawn or painted for traditional hand-drawn animation

Derived from this ambition, the main architectural concept was to increase public interaction with the world of animation. Reconciling this with the unique environmental requirements of animation spaces, vertical production ‘towers’ rest at the core of the plan.

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DA CAPO MUSIC CENTRE

THE CEL

Sarah Binesmael

Felicity Fairclough

sbinesmael@gmail.com

fgfairclough@gmail.com

INDIVIDUAL PROJEC T

C A M D E N A N I M AT I O N C E N T R E Cel

TUTOR :

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T U T O R : M A R K W AT K I N S

M A R K W AT K I N S

noun. short for celluloid, a transparent sheet on which objects are drawn or painted for traditional hand-drawn animation

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LO S T I N C L AY

B R O O K LY N W R I T E R S H O U S E

Lois Weedon

Jason Tang

loisweedon@gmail.com

jasonlht1110@gmail.com

INDIVIDUAL PROJEC T

A SCHOOL FOR CERAMICS

TUTOR :

In recent years, the art of ceramics has become gentrified as education for potters becomes scarce. Underfunded schools have limited access to the resources necessary to re-invigorated the medium, heightened by an ever focused STEM era. It is for this reason that a school celebrating the art of ceramics is vital. An animated public realm has lead to a spiralling scheme that orders its spacial arrangement. The radial grid is expressed through columns and ceramic fins, canopied with a dished roof; focusing the scheme to the core of activity. This is met with an orthogonal zone of creative spaces. This scheme is a manifestation of ceramics and its ability to mute our digital era. Driving forces are parallel with that of the medium and have formed the primary basis to this educational facility.

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MADE OF PAPER ! Brooklyn Writers House supports independent writers in New York by providing them with a place to live and write. Their finished work can be published and printed in our in-house letterpress, which will be run by independent publishers and literary charities housed within the building. Community spaces including a bookshop, an exhibition space, a mini-library and a lecture theatre, engage our writers and their work with the public. The project contains a taller element in the form of a tower, which serves as both a viewing deck and a mini-library. The tower has floor to ceiling bookshelves integrated with the main staircase, which wraps around a central light shaft. The tower gets lighter towards the top, drawing people up to the viewing deck which views over both Gowanus and Park Slope, celebrating the building’s location at the boundary of two community districts.

T U T O R : M A R K W AT K I N S

M A R K W AT K I N S

Clay is the embodiment of nature as a resource for art. Fusing both form and function, ceramics have become a customary part of our everyday life. As appreciation for this fundamental resource dwindles, functionality is perceived to be its only remaining attribute. Yet, there is a hidden craft to ceramics.

Seeing that paper books are now gradually replaced by digital ones such as e-books and audio books, the project explores the use of paper in architecture. When people see the building from afar or touch the building fabric, it evokes their memories of holding and reading an actual book made of paper.

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LO S T I N C L AY

B R O O K LY N W R I T E R S H O U S E

Lois Weedon

Jason Tang

loisweedon@gmail.com

jasonlht1110@gmail.com

INDIVIDUAL PROJEC T

A SCHOOL FOR CERAMICS

TUTOR :

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M A R K W AT K I N S

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Elijah Morales

Eleanor Parsons

Daniel Pambakian

Ching Lui

Oasis Mignot

James Burkhalter

Mahika Goel

Da Ruey Chiam

T U T O R : M AT T H E W H A R R I S O N

Elijah Morales

Eleanor Parsons

Daniel Pambakian

Ching Lui

Oasis Mignot

James Burkhalter

Mahika Goel

Da Ruey Chiam

T U T O R : M AT T H E W H A R R I S O N

BSC ARCHITECTURE | YEAR 4

[this is a sample layout, max 8 images]

A N X I[T E A] Oasis Mignot om429@bath.ac.uk

INDIVIDUAL PROJEC T

IKIGAI

(A Mental Health Center) Da Ruey Chiam

TUTOR :

As I was asked to select a topic of personal interest, I chose to tackle the issue at the very core of my being whose presence has been of increasing weight upon my shoulders of late. As such, this project represents my wholehearted attempt to capture this promise of happiness in the form of a mental health center wherein I could reasonably believe that the possibility of redemption is not so far away as I had once imagined.

M AT T H E W H A R R I S O N

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It is with ever increasing difficulty which I draw distinctions between the architectural realm and that of the personal, for is it not specifically through a rounded understanding of the ‘Self’ in Jungian terms reinforced by technical know-how that the possibility of design to which we render the term ‘beautiful’ is born? For what is beauty but, as Alain de Botton claimed, that which offers us the promise of happiness, and how could one truly find this without first acquiring an understanding of that which lies within.

From its earliest recorded use, tea was widely believed to refresh the spirit, alleviate tiredness, fight off depression and illness, and boost energy. It is for many of these reasons that we still enjoy tea today, and in fact it is the world’s number one beverage after water. Tea is a drink that penetrates all cultures and continents. The proposal aims to offer a space for anxiety relief and overall a peaceful area at the heart of the busy metropolitan city of London. Working with therapists and mental health professional, the tea & therapy centre will provide support and counselling to tackle anxiety in Camden. The emphasis will be set on diminishing anxiety through green therapy and the manufacturing of tea. In addition, the calmess of the spaces is conveyed through the materiality of the proposal. The light shade of the internal cladding creates a warm and welcoming atmosphere for both the patients and visitors. The delicate curved glulam structure was inspired by tree sprouting towards the sky, reminiscent of the natural landscape surrounding the proposal. Finally, the external façade is cladded with bioreceptive panel with a hyper porous composition able to grow micro organisms and lichens. Acting as natural air purifiers, they also provide a habitat for micro fauna and small insects on which birds can feed.

TUTOR :

M AT T H E W H A R R I S O N

docchiam@gmail.com

WELLNESS IN A CUP

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[this is a sample layout, max 8 images]

A N X I[T E A] Oasis Mignot om429@bath.ac.uk

INDIVIDUAL PROJEC T

IKIGAI

(A Mental Health Center) Da Ruey Chiam

TUTOR :

M AT T H E W H A R R I S O N

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TUTOR :

M AT T H E W H A R R I S O N

docchiam@gmail.com

WELLNESS IN A CUP

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THE REPAIR CENTRE

FEEDING 10 BILLION

Hera Lui

Ellie Parsons

chinglui1999@gmail.com

ellieroseparsons@hotmail.co.uk

INDIVIDUAL PROJEC T

R E S P O N S I B L E E AT I N G

TUTOR :

Three functions of the centre respond to the needs of the community specifically and are divided into three zones which are expressed by the different handling of the facade. The makers’ centre is dedicated to repairing objects, which offers skills for the residents; the meditation centre is designed to address mental health problems in the area; and the research centre is incorporated to explore the impact of the activities in the building on the residents’ wellbeing. The zoning assists different environmental strategies for spaces with different functions. It also shows a pattern of decreasing busyness as going upwards.

Global warming, food production, and food distribution are large global issues that can only be solved with multiple efforts on different fronts. They will not be solved in one building. However, with a mindset of ‘every little helps’, the aim is to advocate for a more sustainable and widely understood food production and distribution system, able to withstand inevitable climatic pressures. This project provides accessible sustainable food. A local vertical farm encourages people to adopt space-saving diets, while education on environmental impacts of food choices encourages the public to reduce unsustainable foods like red meat in their diets.

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A meeting point for the community that emphasises well-being is designed for Somers Town, which is a residential area behind Kings Cross. The building is in a stepping form, which incorporates the rooftop spaces to allow visitors to interchange between internal and external spaces throughout the journey. This movement reciprocates the rhythm of inhaling and exhaling of breathing exercise during meditation, which acts as a reminder to relax. The concept of rhythm is also expressed in the structure of the building, such as the paired columns and paired trusses in the atrium.

By 2050, we are expected to reach a population of 10 Billion people. We will need 3 planets to support the rate at which we are consuming resources. One of the main issues stems from our food system, which overuses water and land.

TUTOR :

M AT T H E W H A R R I S O N

REPAIR OB JEC TS AND MIND

The farm is designed to deliver via bicycle around Camden, utilizing the provided prep and pack spaces and service lift to package and deliver food. Events are run regularly in the building, such as workshops to make your own at-home hydroponics farm using cheap Ikea parts, making the technology interactive and user-friendly.

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THE REPAIR CENTRE

FEEDING 10 BILLION

Hera Lui

Ellie Parsons

chinglui1999@gmail.com

ellieroseparsons@hotmail.co.uk

INDIVIDUAL PROJEC T

R E S P O N S I B L E E AT I N G

TUTOR :

M AT T H E W H A R R I S O N

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TUTOR :

M AT T H E W H A R R I S O N

REPAIR OB JEC TS AND MIND

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SCHOOL FOR CHILDREN WITH SPECIAL NEEDS

T H E P L AY H O U S E

Elijah Morales

Mahika Goel

elijah.kulit2000@gmail.com

mahika2208@gmail.com

THE VISION

T H E R E - I M A G I N AT I O N O F EDITH NEVILLE PRIMARY SCHOOL:

TUTOR :

There are many well known facilities that currently provide services for people with disabilites, although, its ‘radii of influence’ can only go as far. There are still some areas which do not have access to this service, and one of the main goals for this project should be to strategically layout the next possible site for a building type which is used to serve people with disabilities.

seeks to not only be able to provide a good school space but rather a school that is more than just a building. The school aspires to make any child feel at home, comfortable and truly themselves. As a Steiner School, the school doesnt rely on textbook knowledge alone and believes that going back to age-old practices is the right step in the direction to further encouraging children’s spirituality. The form and design of the school is heavily influenced by the theories of Waldorf Stiener himself, who believed that young children should be learning and living in fluid rather than rectilinear spaces that tend to ‘box-in’ development too early. This was combined with a special focus towards developing a completely natural landscape and aiding every user of the building in building a meaningful and personal relationship with nature. As the variety of trees in the context, and the Protected Trees on site were discovered, each element began to tie into the wider concept of creating a space that effortlessly flows outdoor to indoor and vice versa. Responding to the fluid geometries make for a playful as well as unusual form, creating pockets of hidden views, changing forms, levels and thresholds. These elements intertwine toogether to spark a child’s curiosity as the building becomes home to the young explorer!

M AT T H E W H A R R I S O N

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‘NEW HORIZONS’ is a new special school for children and young people with special educational needs and disabilities (SEND), the aim is to encourage growthand for these minorities to develop in all aspects of eduaction, critical judgement and the social independence as to prepare them for adult life. Camden is home to immensely diverse communities, business and education. It also houses Central London’s densest Knowledge Quarter located at Kings Cross.

TUTOR :

M AT T H E W H A R R I S O N

INDIVIDUAL PROJEC T

NEW HORIZONS

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SCHOOL FOR CHILDREN WITH SPECIAL NEEDS

T H E P L AY H O U S E

Elijah Morales

Mahika Goel

elijah.kulit2000@gmail.com

mahika2208@gmail.com

THE VISION

T H E R E - I M A G I N AT I O N O F EDITH NEVILLE PRIMARY SCHOOL:

TUTOR :

M AT T H E W H A R R I S O N

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TUTOR :

M AT T H E W H A R R I S O N

INDIVIDUAL PROJEC T

NEW HORIZONS

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Filip Dabrowski

Wing Ng

Nicole Johnson

Hasib Rajput

Cormac Miller

Mashal Afzal

Ryan Birch

Jakub Konopka

TUTOR : MICK BRUNDLE

Filip Dabrowski

Wing Ng

Nicole Johnson

Hasib Rajput

Cormac Miller

Mashal Afzal

Ryan Birch

Jakub Konopka

TUTOR : MICK BRUNDLE

BSC ARCHITECTURE | YEAR 4

INSTITUTE OF TECHNOLOGY Filip Dabrowski dabrowskifilip99@gmail.com INDIVIDUAL PROJEC T

INDIVIDUAL PROJEC T

LIFE LONG LEARNING

TUTOR :

Hasib J. Rajput hr490@bath.ac.uk

T HE VA LU E O F VO I C E The gentrification of Coal Drops Yard and its surrounding area, as a result of high-end retail and residences, has left the poorer communities of Camden and Islingtion in a state of disregard. Decreased social interaction as a result of Covid-19 and chronic loneliness in the elderly and general public present issues which require attention, to which Coal Drops Yard is ill-equipped to address.

MICK BRUNDLE

The project brings back the importance of life-long learning with opportunities for anyone over the age of 16 to have a chance to up-skill with a direct link to employers who help plan the curriculum of the institution. With fast changing technology, the project is exploring and facilitating spaces for the local community to benefit from the scheme through classes run teaching about the essential skills focused on technology

RECIPROCITY

TUTOR :

MICK BRUNDLE

Education is national treasure, shaping people, the economy and our futures. However, many young people are unprepared for the real world of work. The Institute of Technology is a new institution introduced by the government providing a new form of apprenticeship courses for post 16.

Furthermore, general health, financial and overcrowding issues, have put Camden and Islington as two of the most impoverished boroughs in London. This building aims to address these issues by providing an affordable, sustainable and adaptable multi-storey market place, to allow the poorer communities of the area to consume in a sustainable and recreational manner and encourage meaningful social interaction, between socially isolated individuals, in a widely unused

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INSTITUTE OF TECHNOLOGY Filip Dabrowski dabrowskifilip99@gmail.com INDIVIDUAL PROJEC T

INDIVIDUAL PROJEC T

LIFE LONG LEARNING

TUTOR :

Hasib J. Rajput hr490@bath.ac.uk

MICK BRUNDLE

RECIPROCITY

TUTOR :

MICK BRUNDLE

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T H E P L AY H O U S E

Jakub Hipolit Konopka

Mashal Afzal

jhkonopka.arch@outlook.com

ma2319@bath.ac.uk

GOSPEL OAK INFANT SCHOOL: EMBRACED BY M O T H E R N AT U R E

TRANSMISSIO

This project presents an initiative to replace the older Gospel Oak Nursery and Health Centre with an improved Gospel Oak Infant School built for around 200 children offering a Pre-School, Nursery, Reception, Year 1 class and a Year 2 class. Together with Camden Spark and Think Global, the project aims to solve the issues that have been specifically outlined by several community groups, local businesses and local residents of Gospel Oak in the Camden Site Allocations Local Development Document and the Gospel Oak Regeneration published by the Camden Council.

A small theatre based in Bangor Wharf, Camden is designed with playfulness and the community as the heart of the design ethos. The building houses a 214 seat timber auditorium encased in a brick building and poses itself as the main feature. The double height foyer with tree columns, each with their own rooflight, bring in dappled light through out the day and illuminate the space at night. The building provides itself as a cultural and creative centre for the neighbourhood it resides in, acting asa transmission space for people to rest and relax.

TUTOR :

The primary concept of the building takes on the box in a box structural typology to provide acoustic attenuation for the auditorium. Inferring from this, I have a brick structure housing the front od house and backstage which encases the timber auditorium on three sides.

MICK BRUNDLE

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Constructed entirely in timber, this Passivhaus scheme carefully considers its surrounding context to achieve the optimum passive solar gains for all the key spaces in the building. The classrooms have been designed to create an ergonomic and thoughtful environment with appropriate SEND facilities and learning resources for an optimum teacher-student collaboration and learning experience. Together with Kentish Town City Farm - the UK’s 1st City Farm - this scheme offers lifelong learning, outdoor therapy and education to children with special needs with opportunities for holistic growth surrounded by nature in an urban context.

TUTOR :

MICK BRUNDLE

INDIVIDUAL PROJEC T

TEMPUS FUGIT

Natural ventilation was another key factor in the design of principle spaces where the use of sub-floor plenums is persistent to bring air in and allow the space to heat or cool depending on the weather.

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T H E P L AY H O U S E

Jakub Hipolit Konopka

Mashal Afzal

jhkonopka.arch@outlook.com

ma2319@bath.ac.uk

GOSPEL OAK INFANT SCHOOL: EMBRACED BY M O T H E R N AT U R E

TRANSMISSIO

TUTOR :

MICK BRUNDLE

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TUTOR :

MICK BRUNDLE

INDIVIDUAL PROJEC T

TEMPUS FUGIT

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MAKING MUSIC

Heidi Ng

Nicole Johnson

heidingwinghei818@gmail.com

ncj.johnson6@gmail.com

C L AY, G A R D E N A N D F O O D

CAMDEN LUTHIERY SCHOOL

This project brief is written based on a real community art project at Rochester Square, a big private garden plot that was used as a plant nursery in the heart of Camden. The project aspiration is to bring people together through simple and ordinary things: art, gardening, and food.

A luthier is a craftsperson who makes and repairs stringed musical instruments which have a neck and peg box. These include all instruments in the violin family (violins, violas, cellos and double basses) and guitars.

TUTOR :

The massing of the scheme is driven by prioritising the south-west facing garden for food production, art creation and leisure. The vista is a new circulation route that connects both sides of the square and creates a welcoming entrance that actively engages with the community. Apart from responding to the neighbouring Victorian terraced houses, the two modest pitched roofs recall memory of the square and direct views into the garden.

This project is all about celebrating the art of making music, both in the sense of creating and crafting stringed instruments, and in the sense of performing and playing them. The former will be represented in the form of a luthiery school, which offers a degree in making stringed instruments and the latter in a series of practice rooms and an informal performance space. The scheme aims to encourage adults to keep playing their musical instruments, by offering them spaces to play and a community of musicians to play with, as well as access to repair services from the students.

MICK BRUNDLE

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The proposed scheme enables the organisation to grow organically towards a self-sufficient community and embrace the integration of nature within their everyday practice.

TUTOR :

MICK BRUNDLE

INDIVIDUAL PROJEC T

HARMONY

The site has been zoned into these three main activities (creation, practice and performance), arranged around a central courtyard. The scheme also incorporates an existing police house on the site, from which material choice and massing proportions were primarily derived.

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MAKING MUSIC

Heidi Ng

Nicole Johnson

heidingwinghei818@gmail.com

ncj.johnson6@gmail.com

C L AY, G A R D E N A N D F O O D

CAMDEN LUTHIERY SCHOOL

TUTOR :

MICK BRUNDLE

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The proposed scheme enables the organisation to grow organically towards a self-sufficient community and embrace the integration of nature within their everyday practice.

TUTOR :

MICK BRUNDLE

INDIVIDUAL PROJEC T

HARMONY

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EUDEMONIA Ryan Birch Vectorworks Educational Version

INDIVIDUAL PROJEC T

ryanbirch44@gmail.com

PEER-LED, PROACTIVE STUDENT WELLBEING

TUTOR :

MICK BRUNDLE

Inspired by the 1930’s Peckham Experiment, the Bloomsbury Student Wellbeing Centre proactively improves the mental health of London’s university students through a peer-led approach that combines leisure and community facilities.

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Situated wthin London’s university district, the centre is socially focussed, using interconnected spaces of varying scales. The knuckle plan connects community spaces with a new square in St George’s Gardens - a green oasis that is also the primary approach from university campus - by allowing them to spill out onto active terraces and balconies that subvert the listed railings forming the site boundary. Large scale sports spaces border the urban site rear, with a central spine unifying the building. The materials exhibit strong place identity by having a direct connection to London wherever possible, thus creating a building uniquely for local students. Small-scale adaptability allows students to take ownership of the building. This is exemplified by the St George’s facade which uses several interchangeable elements including blinds, posters and banners to advertise the centre’s events. A festive atmosphere is created that constantly changes throughout the year - students can be directly involved in facade decoration, hence promoting a sense of belonging by creating a platform for social interaction.

BSC ARCHITECTURE | YEAR 4

EUDEMONIA Ryan Birch Vectorworks Educational Version

INDIVIDUAL PROJEC T

ryanbirch44@gmail.com

PEER-LED, PROACTIVE STUDENT WELLBEING

TUTOR :

MICK BRUNDLE

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Siya Kulkarni

Kamil Kopycki

Emmanuel Chryssanthopoulos

Polina Pashonina

Juhi Parmar

Parnika Madan

Victoria Yeh

Valeria Bykova

T U TO R : S A S H A B H AVA N

Siya Kulkarni

Kamil Kopycki

Emmanuel Chryssanthopoulos

Polina Pashonina

Juhi Parmar

Parnika Madan

Victoria Yeh

Valeria Bykova

T U TO R : S A S H A B H AVA N

BSC ARCHITECTURE | YEAR 4

CAMLEY STREET

Open Kitchen (for Lounge

Counselling Room

Changing Places Toilet

Meditation Room skylight above

Counselling Room

skylight above

Meditation Courtyard Counselling Rooms Courtyard

Counselling Room

Toilets

Pantry and fruit and vegetable shop

Cafe

Cafe Outdoor Seating

Fruit and Vegetable Garden

Meditation Room Plant Room

Office Toilets

Counselling Counselling Room Counselling Room Room

Cafe Kitchen

Toilets

Sensory Garden - Sight

Plant Room

Sensory Garden - Smell Open Grassy Area Sensory Garden - Sound

PAT

Winter Garden

AL TOW

CAN Sensory Garden - Touch

CHORÓS

[D A N C E]

Juhi Parmar

Polina Polak Pashonina

pjuhi419@gmail.com

ppashonina@gmail.com

A WELLBEING CENTRE FOR CAMDEN

T H E I N T E R G E N E R AT I O N A L T H E AT R E

Deprivation is rife in Camden. Mental and physical health rates in the borough are lower than the national average. Therefore, the Camden Wellbeing Centre aims to encourage holistic wellbeing by providing free services to the public such as counselling, mindfulness classes, cooking classes, arts classes, exercise classes, etc.

Driven by my affection for dance and by the determination to help older people remain socially active and respected in the community, I have designed a dance school and theatre where the elders and youngsters would feel accepted, celebrated and alive.

TUTOR :

S A S H A B H AVA N

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The building is characterised by the central feature landscaped stair connecting Camley street to the Canal. Since this is a single-storey building, it has a low-lying massing. This gives the building a grounded feel - an important principle of mindfulness. Another important principle of mindfulness is a connection to nature. This is achieved using 3 natural materials for the primary structure - rammed earth, brick, and timber. These materials and the primary structure are articulated internally. Connection to nature is also achieved through the various gardens and courtyards that have different characteristics. The building also makes use of a generous amount of soft landscaping and planting in the scheme. Finally, privacy is an important consideration in this project. Therefore, public and private spaces have been zoned accordingly in both plan and section.

Spaces were designed to prioritise the journey of the dancers through the building, as well as to celebrate movement and playfulness in general. The ribbon-like facade, the fluid interiors, and playful motifs - are all introduced to create a welcoming array of spaces which bring dancers from different generations closer together. The overarching idea involved describing the movement of the dancer as carved through ‘solid space’, and the movement of the audience as a free flotation in space. The two paths meet and unite in the auditorium creating a beautiful interaction. Engaging in intergenerational activities, members will be able to create new connections, learn new moves, and overall improve their well-being.

TUTOR :

S A S H A B H AVA N

INDIVIDUAL PROJEC T

E V O LV E

Dance classes, costume workshops and music practices, provide the opportunity to create a full production from scratch all within one building. The main stage would host a variety of in-house staged productions, and invite various dance companies to perform in front of a large audience, gathered together to celebrate dance.

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CAMLEY STREET

Open Kitchen (for Lounge

Counselling Room

Changing Places Toilet

Meditation Room skylight above

Counselling Room

skylight above

Meditation Courtyard Counselling Rooms Courtyard

Counselling Room

Toilets

Pantry and fruit and vegetable shop

Cafe

Cafe Outdoor Seating

Fruit and Vegetable Garden

Meditation Room Plant Room

Office Toilets

Counselling Counselling Room Counselling Room Room

Cafe Kitchen

Toilets

Sensory Garden - Sight

Plant Room

Sensory Garden - Smell Open Grassy Area Sensory Garden - Sound

PAT

Winter Garden

AL TOW

CAN Sensory Garden - Touch

CHORÓS

[D A N C E]

Juhi Parmar

Polina Polak Pashonina

pjuhi419@gmail.com

ppashonina@gmail.com

A WELLBEING CENTRE FOR CAMDEN

T H E I N T E R G E N E R AT I O N A L T H E AT R E

TUTOR :

S A S H A B H AVA N

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TUTOR :

S A S H A B H AVA N

INDIVIDUAL PROJEC T

E V O LV E

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AY U R

QUALITY STREET

Parnika Madan

Victoria Yeh

parnikamadan16@gmail.com

victoriayeh1999@gmail.com

INDIVIDUAL PROJEC T

AYUR will serve as a healing sanctuary for the residents of Camden, encouraging them to focus on improving their overall well-being through the use of integrative and alternative therapies such as Ayurveda. The centre aims to provide a sustainable community resource in both ethos and physicality by reviving the once forgotten ancient and cultural forms of medical practice for the elevation of the collective consciousness. The building is clad in Reclaimed Brick with Terracotta screens and is supported by a mixed Timber structure. Biophilic landscaping has been done to enhance the contemplative and therapeutic nature of the proposal.

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The Quality Street is a “making” youth guild that offers engaging leisure activities and positive transferable skills to the opportunity youth of Camden. Involving youth in crafts such as pottery, silverware, woodwork and glassware (and others) to overall tackle knife crime in London by taking youth off the streets roaming for trouble. The understanding of teenagers’ phase of building relationships during adolescence - in which conflict and tension may arise - inspired the project’s primary concept of studio pods that are suspended into an internal street, creating architecture that is enticing to the users that they would be willing to return to the facility over time. The project is reminiscent of the works of Herman Hertzberger.

S A S H A B H AVA N

TUTOR :

The Sanskrit term Ayurveda translates to “knowledge of life,” and the principles of this ancient wisdom remind us that the entire web of life is intricately interwoven. The art and science of Ayurveda focuses on bringing the five elements (ether, air, fire, water, and earth) into balance, both internally and externally, with a unique emphasis on holistic wellness.

YOUTH GUILD FOR THE ADOLESCENTS OF CAMDEN

TUTOR :

S A S H A B H AVA N

A HOLISTIC HEALING CENTRE FOR CAMDEN

The site is Drummond Crescent, where opportunities from the site geometry allows a generous civic plaza to front the building entrance, acting as a public offering with a shared service of paving and landscape design. Acting as the beginning of the journey sequence, the brick paving ripples into the internal street, thus as a common language that connects the relationship between the internal street and the external plaza.

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AY U R

QUALITY STREET

Parnika Madan

Victoria Yeh

parnikamadan16@gmail.com

victoriayeh1999@gmail.com

INDIVIDUAL PROJEC T

139

S A S H A B H AVA N

TUTOR :

YOUTH GUILD FOR THE ADOLESCENTS OF CAMDEN

TUTOR :

S A S H A B H AVA N

A HOLISTIC HEALING CENTRE FOR CAMDEN

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ROCHESTER SQUARE

Valeria Bykova

Kamil Kopycki

Valeria.Bykova@outlook.com

kamil.k.98@gmail.com

A CONTEMPORARY FUNERAL CENTRE FOR THE MYCELIUM BURIAL PRACTICE

E A R T H | P L A N T S | P L AT E S

INDIVIDUAL PROJEC T

B O N V OYA G E

TUTOR :

A central ceremonial hall provides a sanctuary and refuge from the outside world for the mourners to say their last goodbyes to their loved ones before their journey into the unknown. Mycelium coffins are used to bury the bodies in Highgate Cemetery to support the sustainable cycle, enriching soil quality in the process and allowing final disposition to take place in the city itself rather than relocating to rural areas.

The project takes clay as a symbol of London’s industrial past and proposes a circular economy, where the act of clay making, food production and eating together are celebrated as interdependent. The building takes the principles of circular economy such as adaptability, disassembly, layering and regeneration to start a discussion on the way we make, grow, and consume.

S A S H A B H AVA N

The 21st century reveals new challenges that we face when it comes to our current funerary practice which is primarily focused on protection, sanitisation and beautification of the corpse rather than sustainable methods of disposal, compassion and encouragement for the bereaved. Despite the rapidly changing landscape of contemporary cities, the funeral institutes and practices largely remain unaltered. After my grandmother passed away, I realised that a space has the power to intensify, worsen or help the feeling of losing a loved one. It can also give strength to heal from within. The project seeks to enhance unity and community spirit, allowing people to assemble for a shared loss in a dignified environment.

Our society has become increasingly dependent on a take-make-waste culture. Since the industrial revolution we have been mass producing items for the immediate consumption and profit, only to make more. This is now leading to climate change, damaged ecosystems, biodiversity crises amongst many societal issues. In this project I wanted to explore how we can continue making in a symbiotic way with our environment.

TUTOR :

S A S H A B H AVA N

Death is something unavoidable. Different individuals, families, communities and societies, no matter their class, religion or culture, all ultimately experience it’s arrival.

Rochester Square, located at the heart of residential Camden Town, acts as a meeting place for residents from different backgrounds and celebrates the art of making as an act of selfexpression and connection between people and communities.

The scheme facilitates mycelium production,

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ROCHESTER SQUARE

Valeria Bykova

Kamil Kopycki

Valeria.Bykova@outlook.com

kamil.k.98@gmail.com

A CONTEMPORARY FUNERAL CENTRE FOR THE MYCELIUM BURIAL PRACTICE

E A R T H | P L A N T S | P L AT E S

INDIVIDUAL PROJEC T

B O N V OYA G E

TUTOR :

S A S H A B H AVA N

TUTOR :

S A S H A B H AVA N

Death is something unavoidable. Different individuals, families, communities and societies, no matter their class, religion or culture, all ultimately experience it’s arrival.

The scheme facilitates mycelium production,

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TEKHNE

Siya Kulkarni

Emmanuel Chryssanthopoulos

siya.kulkarni454@gmail.com

echryssan@gmail.com

MINDFULNESS CENTRE

A T O TA L B U I L D I N G C R A F T S COLLEGE

When you consider the transient and fast-paced city lifestyle, deficient in nature and stillness, it’s hardly surprising that those living in London are more likely to suffer with loneliness and poor mental health than those living in the countryside. The being peace centre is a healing place, an antidote. A place to learn how to reconnect with oneself, reflect, slow down and be present, creating balance and stability. A place to rekindle our connection with nature and enhance our appreciation, creating an oasis of calm.

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For centuries, architects and vernacular constructors had concerned themselves with the skills, processes, and crafts of making a building. The hands-on construction role of the architect persisted until the 18th century, but the advent of the industrial age dramatically changed the scale of, and materials in construction. Therefore, the vision for the Crafts College is to reinvigorate craftsmanship in architecture and become a centre of the local community and catalyst for the social mobility of its disadvantaged inhabitants. It will achieve this through the training of the local underskilled population into craftsmen and women with the ability to build. Moreover, tapping into the rich vein of architects, engineers, developers, and other construction industry professionals that is present in the Camden Borough will create a vibrant and creative hub for the construction industry. Of course, the best way for the apprentices to train is through practical experience, and so the site will also act as a test bed for these many different disciplines to try out and perfect their trade, and of course learn from one another.

S A S H A B H AVA N

TUTOR :

This project was inspired by the beauty of Sangha - community, and the values and aspirations of the client, Plum Village, and driven, in part, by my own need for – and understanding of – peace. I love cities and I am drawn to London, but like many, I also know that to enjoy the hustle and bustle and the speed of everything, I must find quiet, naturefilled spaces where - just for a moment - I can catch my breath, steady my mind and reconnect.

TUTOR :

S A S H A B H AVA N

INDIVIDUAL PROJEC T

BEING PEACE

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TEKHNE

Siya Kulkarni

Emmanuel Chryssanthopoulos

siya.kulkarni454@gmail.com

echryssan@gmail.com

MINDFULNESS CENTRE

A T O TA L B U I L D I N G C R A F T S COLLEGE

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S A S H A B H AVA N

TUTOR :

S A S H A B H AVA N

INDIVIDUAL PROJEC T

BEING PEACE

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Abdelkhaleq Yaghmour

Olivia van Wersch

Alex French

Teresa Pulk

Kitae Kim

Oriele Grigg

Pearson Brown

Nuria Yagoubi

T U T O R : T I M R O LT

Abdelkhaleq Yaghmour

Olivia van Wersch

Alex French

Teresa Pulk

Kitae Kim

Oriele Grigg

Pearson Brown

Nuria Yagoubi

T U T O R : T I M R O LT

BSC ARCHITECTURE | YEAR 4

N O S TA L G I A

Oriele Grigg

Nuria Yagoubi

oriele.grigg@icloud.com

nuriayagoubi@outlook.com

A 15 MINUTE CITY HUB

A CENTRE FOR DEMENTIA

With increasing concerns about climate change, especially in London where pollution is at dangerous levels, efforts must be made to reduce our reliance on motor vehicles. The 15 minute city planning concept aims to promote local living (within 15 minutes walking or cycling) and improve quality of life through increased provision of green space and community initiatives.

As a consequence of demographic change, it is increasingly essential both now and in the future to rethink the design of spaces for an ageing population. Dementia often affects people’s spatial awareness, gradually depreciating a person’s ability to place oneself in the world. The built environment therefore plays an important role in aiding people with this cognitive loss.

The proposal forms a 15 minute city hub, providing co-working space, an aquaponic farm to grow sustainable produce, a market, allotments and other outdoor spaces for community use. It would activate an industrial piece of land on one of London’s greatest walking and cycling routes - the Regent’s Canal. The building has been designed around the existing site, retaining important historic features such as the railway embankment wall, retaining critical views to the St Pancras Water Point and improving circulation in and around the site.

Could considering this issue possibly be a starting point for a larger creative renewal of the built environment that can benefit us all?

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T I M R O LT

Its appearance takes cues from both modern agricultural architecture and the historic industrial context, with the exoskeleton steel frame reflecting the Gasholders opposite. As it is not efficient for the farm to be at the centre of the public spaces, the farm is represented externally as a large cantilevered form, with a mesh cladding

The proposal suggests a series of spaces that are sensory and stimulating according to the cycle of the building; from diagnosis to end of life care. This includes a creation of social spaces in which visitors and residents feel safe and can creatively engage in activities, individual dwellings for late stage patients as well as therapy and training rooms for all those affected.

TUTOR :

T I M R O LT

INDIVIDUAL PROJEC T

GARDEN CITY

The scheme adaptively reuses the white concrete skeleton of the former community centre on site. As they journey through the building, visitors encounter a forest of old concrete columns against the new timber interventions. Preserving

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N O S TA L G I A

Oriele Grigg

Nuria Yagoubi

oriele.grigg@icloud.com

nuriayagoubi@outlook.com

A 15 MINUTE CITY HUB

A CENTRE FOR DEMENTIA

Could considering this issue possibly be a starting point for a larger creative renewal of the built environment that can benefit us all?

TUTOR : 147

T I M R O LT

TUTOR :

T I M R O LT

INDIVIDUAL PROJEC T

GARDEN CITY

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BLOSSOM

SENSE AND NON-SENSE

Olivia Van Wersch

Pearson Haidar Brown

oliviavanwersch@hotmail.com

pearson.14.brown@gmail.com

INDIVIDUAL PROJEC T

NURTURING DIFFERENCES

TUTOR :

Blossom is a special school designed for every autistic child’s unique needs. Nested under the protective canopy of nature, this ‘home away from home’ positively challenges children out of their comfort zone while celebrating social interaction, progression and growth throughout the years. Inhabited with corners to sit, cool down, or contemplate, populated with wayfinding guides, the school nurtures and fosters the growth of less independent children from youth to adulthood, while providing a space for the community to meet, interact, and benefit from later in the day.

The purpose of this project is to explore the concepts of ‘wholeness’, ‘purity’, and ‘psychic place’ in architecture. To investigate, I use the vehicle of Carmelite nun and mystic, Saint Teresa of Avila’s seminal 1577 book, ‘The Interior Castle’ to inform the design of a contemporary Carmelite Convent in Lincoln’s Inn Fields, Holborn. ‘The Interior Castle’ outlines the journey into spiritual development a religious follower takes as they depart from the profane flesh world and enter the sacred, soul world. The book is described through a series of Seven Mansions or Dwelling Places – escalating from the First to the Seventh as one becomes closer and eventually married to God. This project offers an architectural imagination of the book: concentrating on its concepts that overlap most prominently in the field of architecture: transience, inside and outside, and upside and downside. The design process started by utilising mid-twentieth century Automatic drawing techniques to create a nonsensical architecture devoid of reason before being weighted with information such as context, programme, and brief requirements into the elected site. An iterative design process followed - eventually producing a rational, sensical building composed of Seven distinct parts, or Mansions, bound together via a Cloister that wraps around the trees and the Mansions alike.

T I M R O LT

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But in a society where the morally inclusive mainstream system is in fact highly exclusive by design, tailored to the needs of able-bodied individuals only, accessing good quality education is becoming increasingly difficult for the growing population of children living with autism. Unable to attend school, they struggle to find their place as adults, making life a lot harder in the long term.

IMAGINING SAINT TERESA O F ÁV IL A’ S IN T ER I O R CASTLE

TUTOR :

T I M R O LT

Education plays a fundamental role in any child’s growth and development. As soon as they enter the classroom, children learn to make friends, to be around others, to build self-esteem, to perform life’s most basic tasks: school forms them to become independent and socially capable adults.

INDIVIDUAL PROJEC T

www.pearsonbrown.co.uk

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BLOSSOM

SENSE AND NON-SENSE

Olivia Van Wersch

Pearson Haidar Brown

oliviavanwersch@hotmail.com

pearson.14.brown@gmail.com

INDIVIDUAL PROJEC T

NURTURING DIFFERENCES

TUTOR :

T I M R O LT

149

IMAGINING SAINT TERESA O F ÁV IL A’ S IN T ER I O R CASTLE

TUTOR :

T I M R O LT

INDIVIDUAL PROJEC T

www.pearsonbrown.co.uk

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BITES & BYTES

Teresa Pulk

Abdelkhaleq Yaghmour

teresa.pulk@gmail.com

abdelkhaleqyagh@gmail.com

A CARING COMMON

CO-EXISTENCE

Inspired by my upringing in the sauna-going culture of Estonia, the Camden Baths bring the concept of shared public bathing to an urban English context. The baths are designed for the individual as part of a community which is echoed throughout the scheme in its function and interiors. Incorporating mixed and nude bathing areas, the scheme introduces public nudity and shared experiences through playing with layers of privacy, visibility, heights and materials.

Adopting a systematic thinking approach will help us move forward to tackle the global challenges of the present and the future. This is true to the scheme as it is combining a Data Center and an Urban Farm into one building, creating a heating and cooling closed loop. The scheme is an asset to the surrounding community as it provides them with heat by linking to the district heating network on one side, and a new community market selling the produce harvested in the building on the other. While most heat is taken out through water cooling, a portion of the heat is taken out through the air. Therefore, the Urban Farm is positioned on top of the Data Center. The Urban Farm is divided into different spaces with different heights and climatic conditions for different crops to grow, while the Data Center remains a solid repetitive base. The public functions infiltrate underneath and between the Data Center and Urban Farm, making the functions a backdrop to everyday life and creating a building where people and infrastructure coexist. The levels step allowing the public to view both functions. The scheme aspires to become a model for contemporary industrial projects, with aspirations to redefine the infrastructure of our cities and inspire similar projects. The building and its expression are driven by the requirements of the function.

TUTOR :

DATA CENTER 151

URBAN FARM

PUBLIC

T I M R O LT

The proposal is centered around a birch tree courtyard, surrounded by an introverted brickclad building. The courtyard acts as a linking device between the entrance, changing areas and different bathing zones. Small moments of exploration are created throughout the scheme, mainly in the bathing landscapes which the visitor is encouraged to adventure around, seeking for heat and humidity. The outdoor areas provide breathing spaces on the roof and the ground. The fun inside the building quietly shows on its facades which fit into a hostile environment, but soften their impact on it and invite people to engage with it more.

TUTOR :

T I M R O LT

INDIVIDUAL PROJEC T

T H E C A M D E N B AT H S

EXTERNAL 152

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BITES & BYTES

Teresa Pulk

Abdelkhaleq Yaghmour

teresa.pulk@gmail.com

abdelkhaleqyagh@gmail.com

A CARING COMMON

CO-EXISTENCE

TUTOR :

DATA CENTER 151

URBAN FARM

PUBLIC

T I M R O LT

TUTOR :

T I M R O LT

INDIVIDUAL PROJEC T

T H E C A M D E N B AT H S

EXTERNAL 152

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A C E L E B R AT I O N O F A L I F E

Alex French

Ki Tae Kim

alexfrench1999@gmail.com

kitae99@gmail.com

COLUMBARIUM & TEXTILE ARTS COMMUNITY CENTRE

A N U R B A N C R E M AT O R I U M T H AT R E T H I N K S T H E CURRENT FUNERARY RITUAL

INDIVIDUAL PROJEC T

REMNANTS

TUTOR :

Participation in the repair and reuse of clothes serves to remind building visitors of their own lifespan and that of the objects they interact with throughout their lives, propagating progressive ideas surrounding lifetime consumption and the remnants of our possessions post-mortem. An optimised link between the proposal site and the adjacent Camden Market capitalises on the local population’s acceptance of challenges to exiting frameworks, its rich history in the textile trade and its influence on progressive fashion subcultures.

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As an urban crematorium located in the heart of London, this scheme brings back the presence of death back into our daily lives, acting as a symbol and monument. It seeks to suggest a new funerary ritual in which collective leisure such as dining, dancing, and singing is incorporated. Here, people come together to celebrate a life rather than mourn its loss. With the pandemic distancing individuals and causing lonely deaths in isolation, it is important more than ever to celebrate the vitality of life collectively.

T I M R O LT

By embedding the experience of death within the community as a backdrop to a textile arts community centre, this project aims to reinvigorate the relationship between the living and the dead, thereby raising general awareness of issues surrounding consumption, waste and the effects of our actions on the planet we leave behind upon death.

Through this scheme, I wanted to look at our current perception of death and to suggest an alternative view. Death has been treated as a taboo, hidden from normality with connotations of fear and misery. With cemeteries outcasted the the outskirts of cities and deaths happening silently in hospital wards, we no longer have the intimate relationship with death that we once had in the past. This continues to the funeral ritual. When we lose a loved one, we focus on their absence through death rather than celebrating the life one has lived.

TUTOR :

T I M R O LT

Contemporary London faces a societal crisis due to its framework for death, inherited from its Victorian ancestors. A backward and destructive attitude toward the notion of mortality results in a threat toward the resilience of the city and the broader moral sentiments of the masses relating to our actions on the planet.

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A C E L E B R AT I O N O F A L I F E

Alex French

Ki Tae Kim

alexfrench1999@gmail.com

kitae99@gmail.com

COLUMBARIUM & TEXTILE ARTS COMMUNITY CENTRE

A N U R B A N C R E M AT O R I U M T H AT R E T H I N K S T H E CURRENT FUNERARY RITUAL

INDIVIDUAL PROJEC T

REMNANTS

TUTOR :

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T I M R O LT

TUTOR :

T I M R O LT

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Meeraj Harun

Liliana Prevedello

Maria Juszczyk

Yana Shaban

Faith Muir

Alison Yu

Dan Zhou

Ka-Yuet Lam

TUTOR : TOBY JEFFERIES

Meeraj Harun

Liliana Prevedello

Maria Juszczyk

Yana Shaban

Faith Muir

Alison Yu

Dan Zhou

Ka-Yuet Lam

TUTOR : TOBY JEFFERIES

BSC ARCHITECTURE | YEAR 4

New

Glue

Old

THE CAMDEN ARCHITECTURE HUB EARTHSHOT

Yana Shaban

maharun@hotmail.co.uk

shabanyana@gmail.com

T H E A R C H I T E C T S ’ WAY FORWARD

The project aims to integrate the public with sustainable innovation, and further collaboration between research groups to optimise and advance development. Social interaction and shared interfaces is a key theme explored throughout the proposal to enhance the cross-fertilisation of ideas, with the internal garden taking centre stage as a place for a coffee break. The building form was heavily influenced by the historic urban context, and aimed to sit sympathetically with the adjacent Lethaby Building. Two wings, for laboratories and workshops, flank a co-working atrium, with a district heating power plant below. The diversity of typologies within the building summarises the multifaceted nature of innovation, and gives the public an appreciation to the systems behind a sustainable future.

The building is divided into three typologies- an office block, a public building and a flexible space. Just as their functions differ so does their tectonic, their atmosphere and their appearance. The office block is a representation of more modern high technology architecture, while the flexible space represents a more modest architecture focusing on the details and tectonic of the structure and the space. Lastly the public spaces are in a Victorian apartment block that has been repurposed. Together the building represents a simple snapshot of the three fundamental types of architecture. In between the Victorian house and the office block sits a light link connecting these building both visually and architecturally. Similarly, a lower flat roof connects the flexible space to the building in front of it.

TOBY JEFFERIES

TUTOR :

Earthshot takes its name from the 1960s moonshot, which united millions in the effort to reach the moon. It catalysed innovation and is a milestone in human civilisation. We today have the chance to reverse our environmental impacts. Together, with an Earthshot, we can make that happen.

TUTOR :

TOBY JEFFERIES

F O R I N N O VAT I O N

Following the Grenfell tower tragedy, architects of all fields now face new challenges with the educational system of today. In these times especially we can see how architects, whether professionals or academics, must adapt to the new regulations and systems. The Camden Architecture Hub aims to help startups, and younger architects to begin their new career path, giving them a platform where they can meet and learn from others. Similarly, the building is designed as an ideologic future of the relationship architects could foster with their local communities. It bridges the gap between the designer and the people they design for.

INDIVIDUAL PROJEC T

Meraaj Harun

C O L L A B O R AT I O N

157

Mesh Facade

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New

Glue

Old

THE CAMDEN ARCHITECTURE HUB EARTHSHOT

Yana Shaban

maharun@hotmail.co.uk

shabanyana@gmail.com

T H E A R C H I T E C T S ’ WAY FORWARD

TOBY JEFFERIES

TUTOR :

TOBY JEFFERIES

F O R I N N O VAT I O N

INDIVIDUAL PROJEC T

Meraaj Harun

C O L L A B O R AT I O N

157

Mesh Facade

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EQUAL CHANCES

Liliana Prevedello

Maria Juszczyk

prevedelloliliana@gmail.com

m.m.juszczyk@gmail.com

“Vestis” aims to become a pivotal centre for fashion, while the design studios are powered by laboratories dedicated to recycle apparel. Here, the architecture aims to embody the key principle of fashion, which is expressing our identities through clothing. Therefore, the idea of “to see and to be seen” is a main driver of the project. Anywhere in the building you can get a glimpse of another activity, promoting an interconnection of ideas and creative exchange. The concept is celebrated by placing circulation paths and functions to over-look onto the main hall; a multi-functional space that can host fashion shows, exhibitions, or speeches. The fashion hub welcomes the visitors with a billowing facade. The metal mesh acts as a sinuous veil that embraces the body of the building, while filtering light and acting as the protective garment. At night, the transparency of the façade reveals the liveliness of the interior. The expo spaces and the café at the arrival corner remain open to the public to enrich Camden’s bustling nightlife. Overall, Vestis is the place to be!

TOWARDS EQUIT Y AND I N C L U S I V I T Y I N E D U C AT I O N Social class position undoubtedly has a profound impact on young people’s life opportunities and choices. Children from disadvantaged backgrounds have less or no chances to discover their strengths and develop their personal interests through engaging themselves in extracurricular activities. As a result, our society is losing a significant amount of talent and human potential. The proposal is aimed at addressing issues of inequality in education through creation of an extended school facility in Camden. An array of after-school activities would take place within the building, ranging from art, music and performance to science, technology and sports. It also provides wraparound nursery childcare, as well as a refectory to tackle poor nutrition among children. An atrium becomes the focal point of the building, with balconies wrapping around it acting as the main circulation route within the school, celebrating movement and becoming a space for encounters. Classrooms can open up and extend onto it, blurring the division between inside and outside. A series of stepping green roof terraces provides kids with safe external play and study spaces.

TOBY JEFFERIES

BOUTUQUE 2 BOUTUQUE 2

TUTOR :

BOUTUQUE 3 BOUTUQUE 3

S U S TA I N A B L E FA S H I O N H U B Camden Town is London’s main hub for vintage and second-hand shopping. Given that the textile industry accounts for 10% of worldwide carbon emissions, we can no longer afford to throw away 85% of our clothing without learning how to recycle and up-cycle.

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BOUTUQUE 4 BOUTUQUE 4

INDIVIDUAL PROJEC T

BSC ARCHITECTURE | YEAR 4

VESTIS

16 0

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EQUAL CHANCES

Liliana Prevedello

Maria Juszczyk

prevedelloliliana@gmail.com

m.m.juszczyk@gmail.com

TOBY JEFFERIES

BOUTUQUE 2 BOUTUQUE 2

TUTOR :

BOUTUQUE 3 BOUTUQUE 3

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INDIVIDUAL PROJEC T

BSC ARCHITECTURE | YEAR 4

VESTIS

16 0

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C A P S U L AT E

ZHOU, Dan

Kari Ka-Yuet Lam

dz456@bath.ac.uk

karilam524@gmail.com

PUBLIC AMENETIES ROOTED IN A LOC AL FOOD SYSTEM

NESTLING IN BRANCHES

INDIVIDUAL PROJEC T

AGRISQUARE

TUTOR :

In respond to Camden’s mission of achieving “everyone eats well every day with nutritious, affordable, sustainable food by 2030”, AgriSquare is re-introducing agriculture into the urban fabric. Outdoor cultivation composes the landscape of the square, while indoor cultivation are presented on rooftops in the form of greenhouses. From seeding to harvest, AgriSquare is a place where urban dwellers can witness and participate in the growth process of vegetables and fruits, through which food literacy may be disseminate.

In both technical and visual terms, the highlight of the structure is arguably the diagonal grid of wooden beams that seem to float above a continuous glass curtain wall veil. The diagrid roof is the ‘Branches’ supporting the ‘Nest’, the office block.

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London Borough of Camden has the highest level of income inequality and poverty amongst thirty-two boroughs. More affordable vegetables and fruits are the key in sustaining the health of Camden residents.

Capsulate is an architecture designed for all life forms to thrive. It uses biodiversity as building blocks to foster mutually beneficial relationships between the natural and the man-made environment. The conservatory supports a research and development centre of starts-ups that focus on natural and biobased material innovation. A global plant collection is housed in the Mediterranean and Tropical Biomes as ‘exhibitions’ that emphasise the importance of environmental stewardship.

TUTOR :

TOBY JEFFERIES

Obesity is a global pandemic resulting from the food environment and individual choices. Poor nutrition as a result from poverty and the lack of food literacy put people at risk of ill health. Our food choices also have a significant impact on the environment in return.

The scheme takes the position that no lasting economic prosperity is possible without shared environmental action to address global challenges. The goal of the proposal is to provide unique work areas and meeting places for employees away from a traditional office setting, whilst providing a piece of nature to the city.

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C A P S U L AT E

ZHOU, Dan

Kari Ka-Yuet Lam

dz456@bath.ac.uk

karilam524@gmail.com

PUBLIC AMENETIES ROOTED IN A LOC AL FOOD SYSTEM

NESTLING IN BRANCHES

INDIVIDUAL PROJEC T

AGRISQUARE

TUTOR :

TOBY JEFFERIES

161

TUTOR :

TOBY JEFFERIES

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THE CAMDEN CRUST

Alison Yu

Faith Muir

alisonyu.ay@gmail.com

muir.faith@gmail.com

FR AMING MOTION

ARTISAN BAKING SCHOOL

Once cut off from the city, over the past few years has King’s Cross undergone a dramatic transformation. Its master plan sets out a framework guiding the development of a distinctive range of uses from new cultural hubs to major business headquarters.

The building acts as a visual learning tool that educates the public about the processes involved in the craft of baking. On the ground floor, café seating permeates the open plan bakery and coffee roastery, creating connections between the baker and the customer as ingredient production and food preparation processes are celebrated. Transparency in the life cycle of food is emphasized with the on-site food waste management hall that handles wastewater and organic waste.

TUTOR :

Movement is celebrated in this scheme with both internal and external circulation framed. The building is split into two blocks joined by an inhabited bridge. The cinema block captures the dynamic flow where external access routes meet the internal circulation; whereas the studio block reflects the static nature of this studentowned space. A veil of mesh wraps around both blocks,which is visually impenetrable during the day. At night, light filters through the facade, animating the activities within and highlighting the building’s status as a cultural beacon.

The market hall adjacent to the bakery includes open kitchens and pop-up artisan product stalls that bring life to the bustling streetscape of Chalk Farm Road. On the northern street frontage, the dynamic concourse allows functions of both the market hall and the bakery to spill out onto the pedestrian realm, further regenerating the high street that houses the iconic Stables Market.

TOBY JEFFERIES

163

The design of an animation centre, including an animation school and cinema, is a gateway building and expansion for Central St Martins. To respect the urban fabric of King’s Cross, it explores the connections, the canal-side setting, the exciting cultural scene and a strong sense of local community. Architecturally, the undulating landscape and neighboring context shape the node points where the building meets the site, forming the overarching diagram of the design.

TUTOR :

TOBY JEFFERIES

INDIVIDUAL PROJEC T

ESCAPISM

Finally, the baking school consists of five double height kitchen bays on the upper floor, with more formal seated classrooms overlooking onto them. Since the building typology revolves around multiple kitchens, a mechanical ventilation heat recovery system increases overall energy efficiency while using the traceability of the exposed ductwork as another way in which the building becomes a visual learning tool.

16 4

BSC ARCHITECTURE | YEAR 4

THE CAMDEN CRUST

Alison Yu

Faith Muir

alisonyu.ay@gmail.com

muir.faith@gmail.com

FR AMING MOTION

ARTISAN BAKING SCHOOL

TUTOR :

TOBY JEFFERIES

163

TUTOR :

TOBY JEFFERIES

INDIVIDUAL PROJEC T

ESCAPISM

16 4

Stephanie Moore

Ingrid Bjerkan

Louis Bartlett

Holly Evans

Xi Huang

Abdullah Imran

Angus Benstead

Max Bowden

T U TO R : VA N E S S A WA R N E S

Stephanie Moore

Ingrid Bjerkan

Louis Bartlett

Holly Evans

Xi Huang

Abdullah Imran

Angus Benstead

Max Bowden

T U TO R : VA N E S S A WA R N E S

BSC ARCHITECTURE | YEAR 4

THRIVING

Janet Huang

Stephanie Moore

janethuang231@yahoo.com

stephaniemoore89@outlook.com

A YOUTH & COMMUNIT Y C E N T R E F O R D I S A D VA N TA G E YOUNG PEOPLE

C O U R T YA R D P R I M A R Y

Somers Town has a unique mix of socially rented homes on the same streets as national infrastructure. Yet, it remains one of the most deprived parts of Camden.

Courtyard Primary is a primary school for level 1 autistic children. The school provides quality education to children who are misunderstood and unsupported.

TUTOR :

The key approach is to activate the neighbourhood. Boarded by two bookends (the multi-purpose hall and the learning centre), the heart of the building is set back on ground level to create a welcoming frontage to the public. The exploration between solid vs openness is articulated with a glulam frame, contrasting with a wrap-around CLT structure. To maximise outdoor space, a series of terraces has been introduced, including breakout terraces on the youth-based first floor, a play terrace for the nursery on the top floor and an exhibition and working terrace for the art pavilion. Copper cladding is used as a device that unities the different volumes of the scheme, creating playful folds and light filtration. Its oxidation participates in the life of the building.

The school is located in the Regent’s Park ward of Camden, London. Through its close proximity to nature, the school aims to use biophilic design to create good learning environments for the children to succeed and thrive. The zoning of the school allows all spaces to be connected to the courtyard, a garden focussed on the senses. Autistic children have difficulties with sensory integration, therefore designing for the senses is at the heart of the scheme. Connecting each space is a series of arched circulation routes. These create clear transitional zones which aid the children in both wayfinding and moving from one activity to another.

VA N E S S A WA R N E S

167

The proposal is to design a youth and community centre with affordable childcare for disadvantaged families in the under-served neighbourhood. The centre provides recreational, art and educational facilities and well-being support for the youth aged 1-19 and up to 25 with special needs.

TUTOR :

VA N E S S A WA R N E S

INDIVIDUAL PROJEC T

E L E VAT E

Courtyard Primary aims to show that more should be done to create architecture which is fully inclusive and accessible to all. Not all disabilities and conditions are visible.

16 8

BSC ARCHITECTURE | YEAR 4

THRIVING

Janet Huang

Stephanie Moore

janethuang231@yahoo.com

stephaniemoore89@outlook.com

A YOUTH & COMMUNIT Y C E N T R E F O R D I S A D VA N TA G E YOUNG PEOPLE

C O U R T YA R D P R I M A R Y

Somers Town has a unique mix of socially rented homes on the same streets as national infrastructure. Yet, it remains one of the most deprived parts of Camden.

Courtyard Primary is a primary school for level 1 autistic children. The school provides quality education to children who are misunderstood and unsupported.

TUTOR :

VA N E S S A WA R N E S

167

TUTOR :

VA N E S S A WA R N E S

INDIVIDUAL PROJEC T

E L E VAT E

Courtyard Primary aims to show that more should be done to create architecture which is fully inclusive and accessible to all. Not all disabilities and conditions are visible.

16 8

BSC ARCHITECTURE | YEAR 4

DEBUT

Abdullah Imran

Angus Benstead

abdullahimran282@gmail.com

benstead.a@hotmail.com

A MUSLIM CIVIC CENTER

Y O U T H T H E AT R E F O R T H E HARD OF HEARING

The scheme proposes a central location from which the MCB might expand their services and fulfil their responsibilities more completely, and makes an effort to be an asset on both a national & diplomatic and intimately local scale. The creative tension between a need to respond to a sensitive Bloomsbury context and a mandate to celebrate centuries of Islamic aesthetic & cultural heritage results in a delicately balanced contrast between a formal, reserved masonry ‘shell,’ and an expressive, layered screening using prefabricated GRC panels. Featuring flexible office provision, a suite of seminar & meeting spaces, the UK’s first reference library for study into the British Muslim community, as well as its two cornerstone offerings: a council chamber and a new local Mosque, the proposal seeks to weave together

169

The origin of theatre was crafted from the intertwining of performance and public space, reflecting a true model of the Theatre of Interference - accessible to the everyday man, as Shakespeare too intended. The design aims to break the formality and social societal barriers associated with theatre today through this model, and provides the youth members of Deafinitely Theatre, the UK’s first deaf led theatre company, a platform to share their stories through scriptwriting and physical movement. Located in Swiss Cottage, the theatre will work in collaboration with the adjacent Hampstead Theatre, expanding their existing youth network, whilst crafting relationships with the neighbouring Royal Central School of Speech and Drama, to provide the opportunity for a continued inclusive theatrical development. The auditorium structure offers flexibility in creating a formalised internal performance space, which may expand into an explosion of life through the dramatic opening of the rear stage walls, breaking the formality of the proscenium arch and transforming the performance into theatre in-the-round. The expressed external structure contributes to this spectacle, whilst also offering opportunity for the inhabitation of the Swiss Cottage market.

VA N E S S A WA R N E S

TUTOR :

“Mahalla” (Arabic) translates to ‘organised community’. The Muslim Council of Britain (MCB) is the UK’s most prominent umbrella organisation serving the interests of Britain’s Muslims, and as of date, is bottlenecked in its activities by the absence of a permanent headquarters.

TUTOR :

VA N E S S A WA R N E S

INDIVIDUAL PROJEC T

MAHALLA

170

BSC ARCHITECTURE | YEAR 4

DEBUT

Abdullah Imran

Angus Benstead

abdullahimran282@gmail.com

benstead.a@hotmail.com

A MUSLIM CIVIC CENTER

Y O U T H T H E AT R E F O R T H E HARD OF HEARING

169

VA N E S S A WA R N E S

TUTOR :

VA N E S S A WA R N E S

INDIVIDUAL PROJEC T

MAHALLA

170

BSC ARCHITECTURE | YEAR 4

WENDLING PRIMARY Holly Evans

INDIVIDUAL PROJEC T

he306@bath.ac.uk

TUTOR :

VA N E S S A WA R N E S

MONTESSORI SCHOOL

171

Schools are integral parts of their communities, contributing to the well-being of young people and local families, and there is a growing expectation that schools should play an essential role in meeting the nationwide demand for out of hours childcare, not just a typical school day. The school’s location in the heart of Gospel Oak means children will arrive from the neighbouring estates, and will accommodate parents and students from a range of backgrounds. The aim of the school is to provide not just first class education facilities, but to extend the reach of the school out to the adjacent developments, acting as the heart of Gospel Oak’s community. The site is located directly next to the Wendling Estate - a 1960’s development of predominantly socially rented apartments - and connects via a first floor walkway and external staircases. Rather than segregating residents from the school, the building forms part of a large terrace, with growing and multi-use community spaces bridging the gap between residents of the estate and the school itself. A central courtyard and stepped terraces provide engagement and learning opportunities for students throughout their learning years, providing a natural escape from the dense urban context of Camden.

BSC ARCHITECTURE | YEAR 4

WENDLING PRIMARY Holly Evans

INDIVIDUAL PROJEC T

he306@bath.ac.uk

TUTOR :

VA N E S S A WA R N E S

MONTESSORI SCHOOL

171

MARCH ARCHITECTURE | YEAR 5

For the main project this year the site was Western Harbour in Bristol, adjacent to Cumberland Basin and the River Avon, and students were asked to masterplan the site with eight adjacent plots, one for each in their tutor group.

The students have undertaken:

Each student was asked to choose one of: performance, civic-community, live-work or making (two of each per tutor group) and develop a brief for their project around that together with its adjacent landscape.

• a ‘live’ threshold installation on campus, building a group design • a manifesto on ‘beauty’ in image and text • a group observing and recording exercise on a predetermined route across the city

Their choices included pottery studios, theatre, bike repair workshop, monastery, bakery, boatbuilding, recycling centre, mud spa, gardening centre, skateboard workshop, opera house, tennis centre, play space, wildlife centre, youth forum, music venue, street art gallery (amongst others).

• an individual response to place along that route in sketch, poetry and model • an individual observing and recording exercise on site • a group landscape and plot layout for the project site

In addition, each tutor group was asked to develop two high density housing typologies and masterplan these into the same site with a detailed public landscape for this quarter of the city.

• a Rhino and Grasshopper parametric CAD modelling workshop • a workshop on ‘asking, looking, playing and making’ as a way of developing ideas • a typology development exercise called ‘muff on a huff puff’ shared with others in the year • precedent studies of landscape, building, concrete, or timber

1. To encourage each student to explore and develop their own design processes through a series of exercises.

• a concrete detail with a fabric formwork workshop

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

• or a timber detail with a timber structural strategies workshop • a study of housing typologies and design two chosen new types • a group urban landscape masterplan for the site • a building environment workshop • a series of book reports on current approaches to architecture.

Image credits: Acer Tan, , Frankie Prinsloo, Ginny Chen, Jennifer Wong, Millie Thompson, Pontus Lee, Shan-Wei Chew, Sophie Atkinson, Varvara Kot.

175

S T U D I O C O O R D I N AT O R : T O B Y L E W I S

The aims of the studio have been:

Image credits (from top): Threshold Installation Group (Abbey, Matthew, Millie, Pontus and Ryan), Ginny Chen, Shan-Wei Chew, Catalin Stroe, Masterplan Group (Abissha, Alexandra, Frankie, Millie, Mohit, Pontus, Varvara, Warren)

MARCH ARCHITECTURE | YEAR 5

YEAR 5

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.

Image credits (from top): Jeniffer Wong, Millie Thompson, Varvara Kot, Pontus Lee, Sophie Atkinson, Frankie Prinsloo, Acer Tan

176

MARCH ARCHITECTURE | YEAR 5

The students have undertaken:

• an individual response to place along that route in sketch, poetry and model • an individual observing and recording exercise on site • a group landscape and plot layout for the project site

In addition, each tutor group was asked to develop two high density housing typologies and masterplan these into the same site with a detailed public landscape for this quarter of the city.

1. To encourage each student to explore and develop their own design processes through a series of exercises.

• a concrete detail with a fabric formwork workshop

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

Image credits: Acer Tan, , Frankie Prinsloo, Ginny Chen, Jennifer Wong, Millie Thompson, Pontus Lee, Shan-Wei Chew, Sophie Atkinson, Varvara Kot.

175

S T U D I O C O O R D I N AT O R : T O B Y L E W I S

The aims of the studio have been:

MARCH ARCHITECTURE | YEAR 5

YEAR 5

Image credits (from top): Jeniffer Wong, Millie Thompson, Varvara Kot, Pontus Lee, Sophie Atkinson, Frankie Prinsloo, Acer Tan

176

YEAR 6 SU S TA I N A B L E C I T I E S 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. In 2021-22, the cities studied were: Cádiz, Cardiff, Cork, Inverness, Nottingham, Perpignan and Trieste. 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 student’s individual deisgn projects, situated within their masterplan locale. The projects provide the opportunity for every student to employ their 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 in to their professional careers. Professor Alex Wright 6th Year Studio Coordinator

P R O J E C T L O C AT I O N C Á D I Z , SPA I N C A R D I F F, WA L E S , U K CO R K , I R EL A N D I N V ER N E S S , S COT L A N D, U K N OT T I N G H A M , EN G L A N D, U K P ER P I G N A N , F R A N C E T R I E S T E , I TA LY

CÁDIZ S p ain

A S e l f S u f f icie n t C i t y G roup Mas terplan

1 . Bio p hilia A r t M u s e um Gilb er to P aolucci

5 3 4

2 . C á di z W in d Tur b in e B l a d e Re c ycling Fa c to r y

Ma x Stembridge

3 . C á di z Ce n t re o f Fl am e n co S asha Korne ev a 4 . Da t ai s m

R itik a S ayk ar 5 . E xe q uia

Yo el G il C ob o

CÁDIZ S p ain

A S e l f S u f f icie n t C i t y G roup Mas terplan

1 . Bio p hilia A r t M u s e um Gilb er to P aolucci

5 3 4

2 . C á di z W in d Tur b in e B l a d e Re c ycling Fa c to r y

Ma x Stembridge

3 . C á di z Ce n t re o f Fl am e n co S asha Korne ev a 4 . Da t ai s m

R itik a S ayk ar 5 . E xe q uia

Yo el G il C ob o

MARCH ARCHITECTURE | YEAR 6

A SELF SUFFICIENT CITY

Charlotte Pires, Alexandra Korneeva, Max Stembridge, Gilberto Paolucci, Ritika Saykar, Yoel Gil Cobo.

MASTERPL ANNING

Cádiz, Spain.

181

Historically, the city of Cadiz protected itself against the invasion of people. Today, measures must be taken to protect against the effects of climate change. The proposed master plan makes Cadiz more resilient to its climate, addressing rising sea levels and embracing its island typology. Geographically, the location of Cadiz being surrounded by sea, bathed in sunlight and exposed to the wind, presents an opportunity for the city to provide for itself. The proposed master plan seeks to harness he natural assets of the city, promoting self-sufficiency, where energy, water, food and waste are all managed within the city. At the micro scale, he proposal seeks to heal he growing disconnection between he old and new towns, re-imagining he existing port as a parkland to address the severe lack of available green space in the city. The proposed ‘Parkland Neighbourhood’ brings the local character of the surrounding natural park to the heart of the city. The proposed neighbourhood is characterised by he wider sustainability agenda, with new sustainable industries being housed to establish Cadiz as a green energy centre. The proposal will present an exemplar city model of what future sustainable cities can look like.

L O C AT I O N : C Á D I Z

PROTEC T | RECONNEC T | THRIVE

182

MARCH ARCHITECTURE | YEAR 6

A SELF SUFFICIENT CITY

Charlotte Pires, Alexandra Korneeva, Max Stembridge, Gilberto Paolucci, Ritika Saykar, Yoel Gil Cobo.

MASTERPL ANNING

Cádiz, Spain.

181

L O C AT I O N : C Á D I Z

PROTEC T | RECONNEC T | THRIVE

182

MARCH ARCHITECTURE | YEAR 6

BIOPHILIA ART MUSEUM

CÁDIZ WIND TURBINE BLADE REC YCLING FAC TORY

Gilberto Paolucci

Max Stembridge

gpaolucci94@gmail.com

maxstembridge@gmail.com

INDIVIDUAL PROJEC T

183

Humans have long believed that being in the wilderness heals the mind and body and improves personal growth. The transient conditions over spatial and time perspectives raise multidimensional stimuli on our senses, enlivening our physiological and emotional state. The external experience awakes inner processes in our mind and spirituality, reminding us of the beauty of life and allowing us to find peace with our inner selves. The construction and deconstruction of architecture as natural as the birth and death of living beings is transient in nature; despite being the product of technology, it resides within the natural process of mutating ephemeral elements that come and go. This project does not explore the generic, physical application of biophilia within architecture, such as the direct application of green walls, nor does it force the sculpting of nature to man’s will. Rather, it explores the dissolving of boundaries, framing and depicting its setting to amplify the unaltered primordial beauty of nature in contrast, yet coexisting in an originally very artificial setting. Architecture and land art sculptures are vehicles of connection, entwining the two, dually raising awareness to implications of humanity’s destructive nature and offering favourable conditions for visitors to reach an elevated mental and spiritual state.

CASTING SHADOWS ON CÁDIZ Wind turbines solemnly sit upon hills, tower above oceans standing as lonely and vast objects tasked with silently powering our warmth and light both day and night. Yet by the twentieth year of their life, these vast beasts must undergo new blade transplants generating significant amounts of unrecyclable glass fibre. The new Cádiz Wind Turbine Blade recycle, and manufacture plant aims to provide a theoretical factory able to manage the recycle of turbine blades using the newly established technology of Solvolysis which allows reinforced glass fibre blades to be broken down to their virgin materials making these materials available to be used for new manufacture of blades. The project further aims to establish a relation between the public and the factory process raising awareness to the mammoth scale of operations in turbine blade manufacture and the dire need to reuse and recycle.

T U T O R : J AY N E B A R L O W

A V E S S E L T O N AT U R E

The project finds its foundations, in an exploration to the combined design of a factory that operates at maximum efficiency to validate its own construction, whilst integrating recognisably human scale spaces, with the functional program for play, entertainment and education.

184

MARCH ARCHITECTURE | YEAR 6

BIOPHILIA ART MUSEUM

CÁDIZ WIND TURBINE BLADE REC YCLING FAC TORY

Gilberto Paolucci

Max Stembridge

gpaolucci94@gmail.com

maxstembridge@gmail.com

INDIVIDUAL PROJEC T

183

T U T O R : J AY N E B A R L O W

A V E S S E L T O N AT U R E

184

MARCH ARCHITECTURE | YEAR 6

CÁDIZ CENTRE OF FLAMENCO

Market

Parkland

‘Eos’ Institute of Dataism

Old Town

Proposed Master plan

Proposed Scheme

Cultural and civic quarter

D ATA I S M

Sasha Korneeva

Ritika Saykar

aleksandra.korneeva22@gmail.com

ritikasaykar12@gmail.com

INDIVIDUAL PROJEC T

185

The scheme will become the new regional heart of Flamenco, one of the defining features of the historic Andalucian cultural identity, aiming to preserve the practice as it faces a decline in popularity in the city of its birth, Cádiz. The project acts as a gateway from the Old Town to a new belt of Parkland with routes down to the public green space carved out from the historic city wall. The two wings of the building are organised around a central amphitheatre space which provides a venue for outdoor performances as well as a general place of public community for outdoor gatherings. On the side of the old town, the centre for traditional flamenco arts will house educational and performative activities relating to the historic forms of flamenco traditionally practised in the city. It will foster a network of practitioners and enthusiasts helping to ensure the preservation of the historic dance movement. Meanwhile, on the park side, with the scheme aiming to promote flamenco on a regional, national, and global scale, the contemporary centre of flamenco art will house a more generous theatre space suited for hosting larger performance from a more varied series of arts.

- Subterranean -

I N S T I T U T E O F D ATA I S M This project explores the concept of ‘Dataism’ - an idea put fourth by Yuval Noah Harari. It refers to the evolution of technology wherein data becomes more valuable than humans today. Dataism envisions the amalgamation of technology and biology to create the next stage of human evolution - Homo Deus. Architecturally, this concept manifests as a biotech facility where private bio-tech companies offer co-working opportunities for the graduates of University of Cádiz - one of the most reputed schools of science and technology in southern Europe. The data produced in this facility is stored and managed through an in-house data centre and digital archive.

TUTOR : ROBERT GREGORY

TUTOR : JO HIBBERT

BETWEEN OLD AND NEW

This project is located on the medieval fortification of he Cádiz - the walls which protected the city since the 14th century. These walls now protect information technology of an industry which uplifts Cádiz from economic decay to global recognition.

186

MARCH ARCHITECTURE | YEAR 6

CÁDIZ CENTRE OF FLAMENCO

Market

Parkland

‘Eos’ Institute of Dataism

Old Town

Proposed Master plan

Proposed Scheme

Cultural and civic quarter

D ATA I S M

Sasha Korneeva

Ritika Saykar

aleksandra.korneeva22@gmail.com

ritikasaykar12@gmail.com

INDIVIDUAL PROJEC T

185

- Subterranean -

TUTOR : ROBERT GREGORY

TUTOR : JO HIBBERT

BETWEEN OLD AND NEW

186

Yoel Gil Cobo

INDIVIDUAL PROJEC T

yoelgilcobo97@gmail.com

TUTOR : ROBERT GREGORY

A WAT E R C R E M AT O R I U M Many of the earliest archaeological discoveries are funerary monuments through which we learn about the civilisations that preceded us. Modernism pushed contemporary funerary spaces to the outskirts of our cities, while capitalism optimised them in the name of profit.

R E S O M AT I O N

MORTUARY

THE CHAPEL

This has resulted in a societal disconnection from death that is perpetuated by the location and architectural quality of these spaces that we all have to eventually interact with. Exequia builds on the stereotomic legacy of the XVIII Century insular fortress to create a water crematorium (alkaline hydrolysis) that seeks to challenge the current funerary practises and their fostering spaces. The project is a conceptual exploration into human interaction with death, not only as an isolated event but as a healthy and lasting act of remembrance using an architecture designed around the grieving process that provides a respectful backdrop for us to navigate our emotions. A succession of compression and expansion points create a public route that splits the building into two parts, each of which is arranged around a cloistered hortus conclusus where mourners can grieve in expansive isolation.

187

C O U R T YA R D

M.ARCH CLASS OF 2022 - THE BUILD @ SUMMER 2021

MARCH ARCHITECTURE | YEAR 6

EXEQUIA

Yoel Gil Cobo

INDIVIDUAL PROJEC T

yoelgilcobo97@gmail.com

TUTOR : ROBERT GREGORY

R E S O M AT I O N

MORTUARY

THE CHAPEL

187

C O U R T YA R D

M.ARCH CLASS OF 2022 - THE BUILD @ SUMMER 2021

MARCH ARCHITECTURE | YEAR 6

EXEQUIA

CARDIFF Wal e s , U K

Re ig ni t ing C ardif f

G roup Mas terplan

1 . En e r g y Ed u c a t io n Ce n t re

G e orgie Ros e

2 . C ardi f f S cre e n Ac a d e my Ru Quan Phuah

3 . We l s h L ang u age Ce n t re Yanru He

4 . Co n al f an A lg â u

L ar a Miller

5 . T h e C ardi f f S u s t ain a b l e Fo o d Proje c t B enjamin Jame s Rowley

6 . T h e S eve r n O b s e r v a tor y

R achel Foreman

CARDIFF Wal e s , U K

Re ig ni t ing C ardif f

G roup Mas terplan

1 . En e r g y Ed u c a t io n Ce n t re

G e orgie Ros e

2 . C ardi f f S cre e n Ac a d e my Ru Quan Phuah

3 . We l s h L ang u age Ce n t re Yanru He

4 . Co n al f an A lg â u

L ar a Miller

5 . T h e C ardi f f S u s t ain a b l e Fo o d Proje c t B enjamin Jame s Rowley

6 . T h e S eve r n O b s e r v a tor y

R achel Foreman

MARCH ARCHITECTURE | YEAR 6

ENERGY POTENTIAL

GREEN VOID

CA R D I F F CE N T R A L

FRAGEMENTED HERITAGE

REIGNITING CARDIFF

CARDIFF BECOMES A GATEWAY INTO WALES

DISCONNECT

ENHANCING ECOLOGY

MARCH ARCHITECTURE | YEAR 6

FLOODING

RETENTION

REMOVING THE DISCONNECT

ENHANCING CONNECTIONS

3 CONNECTED HEARTS: CITY, BAY AND NEW COAST LINE

CARDIFF, Wales, UK

Cardiff became one of the world’s leading exporters of coal in the 19th century. It thrived during the Industrial Revolution, relying on exploiting the natural resource from the Brecon Beacons to fuel iron and copper industries. The depression of the 1930s and consequent slowdown of British coal industry, however, has left nothing but a scar for the capital of Wales, which is yet to regain its position on the world stage. Cardiff never fully recovered from the decline of the coal industry and has failed to regain a position as a thriving capital city of the world. Today, despite its proximity to the M4 to the north and the Severn Estuary to the south, the sprawling city has become a disjointed collection of key infrastructure which is yet to coherently serve the world.

D OCKSI D E E XCHA N G E

CROSE

I YM

The industry which gave Cardiff its success and deserving capital city has led to many of the issues the city faces today. In this critical moment of the climate and biodiversity emergency the actions which gave Cardiff opportunities have lost Cardiff ’s potential as a vibrant, sustainable and desirable capital city. In the light of Climate Emergency, there is a need for bold moves to meet the high demand for renewable energy. The Severn Barrage is a solution that have the potential to address the 5% of UK energy demand.The masterplan works on the assumption that the Severn Barrage is to be built. The masterplan seeks to help position Cardiff as the Capital for Renewable Energy, making it once again a major player on the world stage as an energy exporter. These different opportunities and challenges that were addressed within the design of the masterplan.

ROA L D DA HL P L ASS

L O C AT I O N : C A R D I F F

REDIFINING THE IDENTITY OF AN ENERGY EXPORTER

191

LOU D OU N SQUA R E

MASTERPL ANNING

Georgie Rose, Ru Quan Phuah, Yanru He, Lara Miller, Ben Rowley, Rachel Foreman

SE V E R N E ST UA RY N AT I ON A L PA R K

192

MARCH ARCHITECTURE | YEAR 6

ENERGY POTENTIAL

GREEN VOID

CA R D I F F CE N T R A L

FRAGEMENTED HERITAGE

REIGNITING CARDIFF

CARDIFF BECOMES A GATEWAY INTO WALES

DISCONNECT

ENHANCING ECOLOGY

MARCH ARCHITECTURE | YEAR 6

FLOODING

RETENTION

REMOVING THE DISCONNECT

ENHANCING CONNECTIONS

3 CONNECTED HEARTS: CITY, BAY AND NEW COAST LINE

CARDIFF, Wales, UK

D OCKSI D E E XCHA N G E

CROSE

I YM

ROA L D DA HL P L ASS

L O C AT I O N : C A R D I F F

REDIFINING THE IDENTITY OF AN ENERGY EXPORTER

191

LOU D OU N SQUA R E

MASTERPL ANNING

Georgie Rose, Ru Quan Phuah, Yanru He, Lara Miller, Ben Rowley, Rachel Foreman

SE V E R N E ST UA RY N AT I ON A L PA R K

192

MARCH ARCHITECTURE | YEAR 6

E N E R G Y E D U C AT I O N C E N T R E

CARDIFF SCREEN ACADEMY

Georgie Rose

Ru Quan Phuah

rose_georgina@outlook.com

phuahruquan@gmail.com

INDIVIDUAL PROJEC T

A B E A C O N B Y T H E B AY

193

Catalysed by the implementation of the Severn Barrage as part of the Cardiff Masterplan, the scheme seeks to establish a place to unite education, community engagement and future energy. On a macro scale, the scheme redevelops Canal Park, bridging a gap between the existing city centre and Cardiff Bay – making it fully pedestrianised and cyclable, enhancing its ecology and creating a swale network for water management. Drawing upon the lost heritage of the site and its industrial past, the proposal will reuse an existing warehouse. By employing an environmental agenda based on the Living Building Challenge, the proposal creates interweaving sustainable systems for landscape, energy, materials, water and the community. The warehouse presents an exploration of material and structural reuse, housing the majority of the energy exhibition space, whilst minimising carbon expenditure by leaving the space unconditioned. The new building aims to provide an exemplar of sustainable design, incorporating Passivhaus principles, low-carbon design and heat recovery ventilation. The scheme embraces the local and Welsh heritage of steel, but re-imagined in a sustainable way through circular reuse and recycling principles.

With the film industry in Cardiff growing rapidly, there is a demand for more local talents to position the city as the next UK Capital of Film after London. However, the film industry is known to be unfriendly to newcomers particularly from underprivileged background. Earlier exposure to the industry for these children would provide them employable skills and better connections to access the industry. Cardiff Screen Academy is proposed as a sixthform secondary school specialising in film for Butetown, a diverse but deprived area from being part of the heritage of its docklands. A school with a community front hopes to keep untold stories of Tiger Bay community then and now alive. The proposal hopes to be the beacon to nurture future storytellers to create a more diverse film industry and continues to document and keep the rich stories of the local community alive. The building seeks to form a heart in the middle of the new build and the collective listed buildings by celebrating the volume of the main hall which also acts as a film production soundstage. The facade intentionally distinguished itself from the red brick and bath stone of the classical buildings. It chooses to portray a neutral tone to reflect its industrial heritage with the use of aluminium and glass, playing with reflection, shadows and translucency. The upper floors in particular uses the translucent U-channel glass to create well-lit learning and social spaces.

TUTOR : JO HIBBERT

U N D E R S TA N D I N G E N E R G Y

194

MARCH ARCHITECTURE | YEAR 6

E N E R G Y E D U C AT I O N C E N T R E

CARDIFF SCREEN ACADEMY

Georgie Rose

Ru Quan Phuah

rose_georgina@outlook.com

phuahruquan@gmail.com

INDIVIDUAL PROJEC T

A B E A C O N B Y T H E B AY

193

TUTOR : JO HIBBERT

U N D E R S TA N D I N G E N E R G Y

194

MARCH ARCHITECTURE | YEAR 6

CONALFAN ALG ÂU

Yanru He

Lara Miller

heyanru66@gmail.com

larachristinamiller@gmail.com

A CENTRE FOR ALGAE R E S E A R C H A N D I N N O VAT I O N IN CARDIFF

Welsh used to be the dominant living language in Wales, but since 1890 the number of Welsh IMMER S dwindled I V E E XtoPthe E Rpoint I E NofCbecoming E speakers has a minority language. The Welsh government has set Welsh used to be the dominant living language ain target onesince million Welsh by Welsh 2050 Wales,ofbut 1890 the speakers number of to improve thedwindled status of language and alsoa speakers has toWelsh the point of becoming protect still fragile Although has Cardiff minoritythis language. The language. Welsh government set is capital of Wales a very low percentage a the target of one millionit has Welsh speakers by 2050 of Welsh speakers. Hence the Welsh Language to improve the status of Welsh language and also Centre Cardiff has a language. leading role in meeting the protectinthis still fragile Although Cardiff government’s is the capital ofgoals. Wales it has a very low percentage of Welsh speakers. Hence the Welsh Language Centre in Cardiff has a leading role in meeting the government’s goals. This project aims to help people learn the Welsh language incorporating traditional This projectbyaims to help people learn the Welsh Welsh culture. the incorporating Welsh Language Centre, people languageAt by traditional Welsh can enhance the use and application of the Welsh culture. At the Welsh Language Centre, people language through an immersive experience of can enhance the use and application of the Welsh traditional Welsh social and cultural life. For language through an immersive experience of instance, journeysocial to learn Welsh language traditionaltheWelsh andthecultural life. For includes performing legends, reading instance, the journey toWelsh learn the Welsh language poetry, traditional and cooking includes making performing Welshcrafts legends, reading poetry, making traditional food. traditional crafts and cooking traditional food. In addition to helping the government achieve its In addition helping government achieve its 2050 goals,tothe Welshthe Language Centre can also 2050 goals, thecommunity Welsh Language can also serve as a local centre Centre to promote and serve as traditional a local community centre to promote and develop Welsh culture. develop traditional Welsh culture.

11 95

The links between mankind and nature have weakened through time, posing threats to the natural world and by doing so exacerbating the climate crisis. Attitudes toward resolving this problem are frequently anthropocentric rather than balanced. This project aspires to be a catalyst for rebuilding humankind’s relationship with nature. This project’s goal is to influence change within this relationship by engaging in the innovation that is emerging when we appreciate and learn from nature. This building is the first of its kind in the UK, and hopes to draw visitors in by allowing them to explore the overlapping themes of research and nature. Starting with the story of lavabread, the design focused on Wales’ cultural connections to the natural world. Routing the project in its surroundings by utilising the rich cultural connections within Cardiff’s marine life, whilst considering the industrial heritage of the site. The design is adaptive, with the goal of engaging both current and future generations. This project investigates the possibility of architecture to enable sustainable growth in the modern city through an exploration of experience of process. This proposal aims to address the future industrial process as a sustainable process that benefits rather than threatens the world. By exploring these relationships the building engages in how architecture can be utilised to ignite a symbiotic relationship between humans and nature.

T U T O R : J AY N E B A R L O W

T U T O R : (J JAAYYNNEE BBAARRLLOOWW )

IMMERSIVE EXPERIENCE

INDIVIDUAL PROJEC T

WELSH LANGUAGE CENTRE

196

MARCH ARCHITECTURE | YEAR 6

CONALFAN ALG ÂU

Yanru He

Lara Miller

heyanru66@gmail.com

larachristinamiller@gmail.com

A CENTRE FOR ALGAE R E S E A R C H A N D I N N O VAT I O N IN CARDIFF

11 95

T U T O R : J AY N E B A R L O W

T U T O R : (J JAAYYNNEE BBAARRLLOOWW )

IMMERSIVE EXPERIENCE

INDIVIDUAL PROJEC T

WELSH LANGUAGE CENTRE

196

MARCH ARCHITECTURE | YEAR 6

T H E C A R D I F F S U S TA I N A B L E FOOD PROJECT

T H E S E V E R N O B S E R VAT O R Y

Benjamin James Rowley

Rachel Foreman

benjaminjamesrowley@gmail.com

foremanrachel97@gmail.com

INDIVIDUAL PROJEC T

Our food system is vastly unsustainable. It is wasteful, contributes to biodiversity loss, and accounts for 37% of global CO2e emissions. The Cardiff Sustainable Food Project will mark the beginning of a food revolution, using a system of aquaponic vertical farms to deliver local, healthy, and sustainable food to the people of Cardiff. As a marker both of a new way of producing food and of the edge of the city, the building’s massing takes the form of a landmark: a sculptural cube, taller than its surroundings, floating lightly on a layer of glass. The building will also promote interaction between locals and their food: a dining hall sits on the fifth floor of the scheme, the procession to which involves following the aquaponic growing process, from fish farming to cooking. Indeed, every aspect of the CSFP, from its facade to its structure to its landscaping, is about celebrating the ingenious process of aquaponic farming: the building is a dynamic advertisement for its vision of the future of food.

top down, left to right : a view from across Queen Alexandra Dock, a view from the lobby, a view from the dining hall, long section.

197

RE-ENGAGING WITH THE ESTUARY The Severn Observatory proposes to reinstate our relationship with the natural world through bringing visitors to the unique environment of the saltmarshes along the Severn Estuary. As a response to the implementation of the Severn Barrage proposed in the Reigniting Cardiff masterplan, the Observatory researches the effects of the barrage on the saltmarsh habitats whilst educating visitors on their role in halting the biodiversity emergency. The centre becomes the gateway to the new Severn Estuary National Park with elements placed on site to create a journey through the landscape. A colonnade lines the man-made dock edge to the West, providing a formal route to the observation tower, whilst a meandering pier lines the undulating saltmarsh to the East. Inspired by reimagining the industrial warehouses of the current port, the angular forms are clad in carbon negative hemp fibre corrugated sheets.

TUTOR : ANNE CL A X TON

TUTOR : AL AN KEANE

FORGING THE FUTURE OF FOOD

From researchers to bird watchers, the Observatory caters for a diverse range of functions reflected in separating the programme into four building elements. This allows form and services to be specifically tailored to each use whether research, lectures or exhibitions, looking out to the natural environment beyond.

198

MARCH ARCHITECTURE | YEAR 6

T H E C A R D I F F S U S TA I N A B L E FOOD PROJECT

T H E S E V E R N O B S E R VAT O R Y

Benjamin James Rowley

Rachel Foreman

benjaminjamesrowley@gmail.com

foremanrachel97@gmail.com

INDIVIDUAL PROJEC T

top down, left to right : a view from across Queen Alexandra Dock, a view from the lobby, a view from the dining hall, long section.

197

TUTOR : ANNE CL A X TON

TUTOR : AL AN KEANE

FORGING THE FUTURE OF FOOD

198

CORK 1

Re ge n e r a t e & Re d e f in e

2 4 3

Ire l an d

G roup Mas terplan 1 . Voy age

A le x C ammack 2 . T h e C i t y Ro om

Adam Jone s

3 . Fo rd Au to m o t i ve

Design Studio + Gallery

F ilip Sus zc z ynski 4 . T h e Co r k H o u s ing Co ll e c t i ve

C hlo e C lac y

5 . Co r k C ul t ur al E xch ange Ce n t re

Fr ank K alume

6 . M c t e g g ar t Ir i s h Dan ce S ch o o l A nnab elle Tang

CORK 1

Re ge n e r a t e & Re d e f in e

2 4 3

Ire l an d

G roup Mas terplan 1 . Voy age

A le x C ammack 2 . T h e C i t y Ro om

Adam Jone s

3 . Fo rd Au to m o t i ve

Design Studio + Gallery

F ilip Sus zc z ynski 4 . T h e Co r k H o u s ing Co ll e c t i ve

C hlo e C lac y

5 . Co r k C ul t ur al E xch ange Ce n t re

Fr ank K alume

6 . M c t e g g ar t Ir i s h Dan ce S ch o o l A nnab elle Tang

MARCH ARCHITECTURE | YEAR 6

R E G E N E R AT E & R E D E F I N E CORK, Ireland

MASTERPL ANNING

Adam Jones, Alex Cammack, Annabelle Tang, Chloe Clacy, Filip Suszczynski, Frank Kalume

By respecting and celebrating Cork’s past, whilst recognising the necessity to reconsider urban living, this masterplan proposal aspires to create a socially, economically and environmentally sustainable future for Cork City. Through celebrating the city’s historical connection with the river, the masterplan looks to reconnect the people of Cork with their heritage. In recognising the cities civic identity as the historical relationship with water, the masterplan identifies two key entities; the existing city centre, an urban environment rich in heritage and culture, and the South City Docks, a brownfield industrial site. Through connecting these differing entities, although contradictory in nature, the masterplan seeks to work as one complimentary urban system.

L O C AT I O N : C O R K

RESTORING THE HEART OF THE CITY

Through the ‘regeneration’ of the existing island and the ‘redefinition’ of the South Docks, the masterplan aims to pave a sustainable future for Cork by first looking backwards before going forwards.

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202

MARCH ARCHITECTURE | YEAR 6

R E G E N E R AT E & R E D E F I N E CORK, Ireland

MASTERPL ANNING

Adam Jones, Alex Cammack, Annabelle Tang, Chloe Clacy, Filip Suszczynski, Frank Kalume

L O C AT I O N : C O R K

RESTORING THE HEART OF THE CITY

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202

MARCH ARCHITECTURE | YEAR 6

THE CITY ROOM

Alex Cammack

Adam Jones

alexmcammack@outlook.com

adamrhysjones7@gmail.com

THE MARITIME MUSEUM O F Y E S T E D AY, TO D AY A N D TOMORROW

ENGAGING THE CITY IN THE PROCESS OF URBAN T R A N S F O R M AT I O N

Considering our past, present and future are inseparable, the programmatic concept of time looks to challenge the historical connotations associated with the ‘museum’; establishing the typology not just as a cultural and community asset, but also one that stimulates sustainable progress. As the maritime industry embarks on the long journey towards net-zero, the project seeks to become a catalyst for maritime innovation.

In the city of Cork, a sense of tension simmers in the background of everyday life. An unresolved and deep-rooted dispute lingers between the residents of the city and those in authority. The process of urban transformation and proposed interventions within the existing city fabric are often met with fierce resistance due to a severe lack of public engagement. This creates a divide in the community, slows the planning process and ultimately restricts the development of the city. On the cusp of major transformation, resolving this conflict is an essential requirement to ensure Cork can fulfil its potential.

203

As well as the Maritime Research and Innovation Centre (MRIC), the public museum is broken down into 3 key volumes, 01 | Yesterday, 02 | Today and 03 | Tomorrow; each carefully crafted to provide a unique sensory and spatial experience. The spaces, albeit contradictory in character, look to work collectively as one holistic museum experience; a chronological journey through Cork’s maritime past, present and future. Through juxtaposing exhibitions founded upon the maritime industry of yesterday, today and tomorrow, the museum aspires to capture the hearts and minds of the next generation of engineers, innovators and navigators.

T U T O R : J AY N E B A R L O W

TUTOR : AL AN KEANE

INDIVIDUAL PROJEC T

V OYA G E

The City Room represents a new architectural typology within Cork. It seeks to bridge the gap between traditionally opposing groups, and in doing so resolve the ongoing conflict associated with development proposals in the city. The project proposes a physical space within the heart of the city where people can come together to reflect on the past, understand the present and debate the future of the city. Ultimately, it aims to ensure that the next chapter in the narrative of Cork is written as an urban collective.

204

MARCH ARCHITECTURE | YEAR 6

THE CITY ROOM

Alex Cammack

Adam Jones

alexmcammack@outlook.com

adamrhysjones7@gmail.com

THE MARITIME MUSEUM O F Y E S T E D AY, TO D AY A N D TOMORROW

ENGAGING THE CITY IN THE PROCESS OF URBAN T R A N S F O R M AT I O N

203

T U T O R : J AY N E B A R L O W

TUTOR : AL AN KEANE

INDIVIDUAL PROJEC T

V OYA G E

204

DIRECT path through the site. HARDER SURFACE to

University College Cork

FORD AUTOMOTIVE

the site.

SOFTER SURFACE to suit

both pedestrians and cyclists.

MARCH ARCHITECTURE | YEAR 6

suit both pedestrians and cyclists.

MEANDERING path through

Cork City Centre

DESIGN STUDIO + GALLERY

THE CORK HOUSING COLLECTIVE

Filip Suszczynski

Chloe Clacy

filipsuszczynski@gmail.com

chloeclacy96@gmail.com

INDIVIDUAL PROJEC T

THE HOUSING TEST BED The Gallery, a public tourist attraction showcasing Cork’s heritage with Ford Motor Company. The intent is to facilitate a relaxed, interactive learning environment for the motor enthusiast visitor. The Design Studio, a private access research facility used primarily by Ford, as well as other car manufacturers. The building programme will support the process of concept car design from the initial sketch, to the 1:1 scale clay model, and the aerodynamics testing using an on-site wind tunnel facility. In collaboration with University College Cork, the design studio will form part of the learning environment for automotive engineering students throughout their practical learning modules. The two distinct zones function independently, and collaboratively with regards to their private and public functions. The experience will immerse the visitor in car culture, and car development leaving them feeling inspired and intrigued by the automotive field.

205

Cork is in a housing crisis, fuelled by dereliction and increasing homelessness. The Cork Housing Collective is a housing development, housing support and advocacy centre for the public, educating the people of Cork on their rights towards housing. The Collective, situated in the heart of the city centre, will research, promote and help develop cooperative and collaborative approaches to housing that can be adapted in the city, setting an example for future developments. The Collective will be a catalyst for new housing prototypes, providing the tool-kit, space and knowledge for the public to form cooperative housing groups. The group will be provided with guidance on how to take derelict buildings and retrofit into affordable homes, as well as developing new housing on under-used infill sites.

TUTOR : JO HIBBERT

TURBO TOURISM.

These new housing strategies, harnessed within the Collective, will aim to create communities that can thrive within Cork, making it a liveable city once again.

206

DIRECT path through the site. HARDER SURFACE to

University College Cork

FORD AUTOMOTIVE

the site.

SOFTER SURFACE to suit

both pedestrians and cyclists.

MARCH ARCHITECTURE | YEAR 6

suit both pedestrians and cyclists.

MEANDERING path through

Cork City Centre

DESIGN STUDIO + GALLERY

THE CORK HOUSING COLLECTIVE

Filip Suszczynski

Chloe Clacy

filipsuszczynski@gmail.com

chloeclacy96@gmail.com

INDIVIDUAL PROJEC T

205

TUTOR : JO HIBBERT

TURBO TOURISM.

These new housing strategies, harnessed within the Collective, will aim to create communities that can thrive within Cork, making it a liveable city once again.

206

MARCH ARCHITECTURE | YEAR 6

C O R K C U LT U R A L E X C H A N G E CENTRE

MCTEGGART IRISH DANCE SCHOOL

Frank Kalume

Annabelle Tang

kalumefrk@gmail.com

annabelle.sw.tang@gmail.com

INDIVIDUAL PROJEC T

A CENTRE TO ASSIST AND EASE RESETTLED REFUGEES’ I N T E G R AT I O N I N T O A N E W SOCIETY IN CORK.

TUTOR : AL AN KEANE

However, with refugees still coping with their past, the new society and the built environment create many more complex challenges that children and adults face due to language barriers, unfamiliar systems and academic practices making it very difficult to rebuild their lives in their contemporary society. The project explores designing a cultural exchange centre and its architectural role as a facilitator of easing and speeding integration for refugees, asylum seekers and other migrants with mixed programmes and meaningful activities that allow them to mix with the local people. The building is designed to allow the host population to co-exist and mix with the new citizens and create a safe place for resettled refugees to help them become part of the contemporary society, heal from past trauma and have a voice in the community.

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A DANCE MASTER IN CORK The McTeggart Irish Dance School is the re-establishing of a legacy Irish Dance School within Cork to revitalise the areas identity through the programme of Irish Dancing. The tradition of Irish dancing has been increasingly popularised international but within the South of Ireland there is a severally limited number of Certified Irish Dance School. The architecture has transpired from three core objectives in parallel with the programme of an Irish dance school. The first is the Extension of Dance, for all spaces proposed to be spaces of performance or have taken inspiration from Irish dancing. The second is Striation of Programme, for the layering of all the elements that support the dancers and acknowledging that work of the production team. Finally, the third is Sedimentation relating to the act of learning and allowing your years of education to build and form layers of knowledge as well as the project adding another layer to the rich history of the site.

TUTOR : ROBERT GREGORY

With the increase of forcibly displaced people globally, Cork has welcomed and resettled refugees under several refugee resettlement programmes. The latest is the Irish Refugee Resettlement Programme resettling 4000 people by 2023 and refugees from Ukraine.

Ultimately, it is a place to feel inspired and at the same time is inspired by the art of Irish Dancing.

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MARCH ARCHITECTURE | YEAR 6

C O R K C U LT U R A L E X C H A N G E CENTRE

MCTEGGART IRISH DANCE SCHOOL

Frank Kalume

Annabelle Tang

kalumefrk@gmail.com

annabelle.sw.tang@gmail.com

INDIVIDUAL PROJEC T

A CENTRE TO ASSIST AND EASE RESETTLED REFUGEES’ I N T E G R AT I O N I N T O A N E W SOCIETY IN CORK.

TUTOR : AL AN KEANE

207

TUTOR : ROBERT GREGORY

Ultimately, it is a place to feel inspired and at the same time is inspired by the art of Irish Dancing.

208

INVERNESS S co t l an d , U K

Tar t an C i t y

G roup Mas terplan 1 . A lby n m h o r Di s t ill e r y

S am B et teridge

2 . B io - Co m p o s i t e Ce n t re S am McLellan

4 1

3 . Inve rn e s s C re m a to rium

Tr avis Moy

4 . A Wo m an’s Pl a ce Jenna P atel

5 . N a t ure Re s e r ve Re s e arch a n d V i s i to r Ce n t re

Lugain R f idah

6 . Inve r n e s s C i t y H a ll D mitr y S amar t s ev

INVERNESS S co t l an d , U K

Tar t an C i t y

G roup Mas terplan 1 . A lby n m h o r Di s t ill e r y

S am B et teridge

2 . B io - Co m p o s i t e Ce n t re S am McLellan

4 1

3 . Inve rn e s s C re m a to rium

Tr avis Moy

4 . A Wo m an’s Pl a ce Jenna P atel

5 . N a t ure Re s e r ve Re s e arch a n d V i s i to r Ce n t re

Lugain R f idah

6 . Inve r n e s s C i t y H a ll D mitr y S amar t s ev

MARCH ARCHITECTURE | YEAR 6

TA R TA N C I T Y

Sam Betteridge, Sam McLellan, Travis Moy, Jenna Patel, Lugain Rfidah, Dmitry Samartsev

THE NEW EDGE

MASTERPL ANNING

INVERNESS, Scotland, UK

A NEW EDGE TO THE CIT Y Located on the Moray Firth, at the mouth of the River Ness, Inverness is one of the fastest growing cities in the UK, with its population expecting to double in the next few decades. However, with this growth come growing pains and Inverness is threatened to be engulfed by unsustainable urban sprawl, overwhelming traffic and internal physical barriers created by old infrastructure. The result is a city with an eroded identity, low quality building stock, and many people in drastic fuel poverty, all the while being threatened by rising sea levels leaving the northern parts of the city at risk of flooding. We propose to resolve those issues and more by performing a strategic retreat from the edge of the sea, forming a new edge to the city. By reversing the construction trend of sprawling to building inwards, we aim to provide a sustainable model for the cities development, allowing it to reach and exceed all of its challenges ahead.

211

GREEN THREADS

L O C AT I O N : I N V E R N E S S

CLOSING GREEN BELT

TRANSPORT ROUTES

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MARCH ARCHITECTURE | YEAR 6

TA R TA N C I T Y

Sam Betteridge, Sam McLellan, Travis Moy, Jenna Patel, Lugain Rfidah, Dmitry Samartsev

THE NEW EDGE

MASTERPL ANNING

INVERNESS, Scotland, UK

211

GREEN THREADS

L O C AT I O N : I N V E R N E S S

CLOSING GREEN BELT

TRANSPORT ROUTES

212

MARCH ARCHITECTURE | YEAR 6

ALBYNMHOR DISTILLERY

BIO-COMPOSITE CENTRE

Sam Betteridge

Sam McLellan

sam.j.h.betteridge@bath.edu

sam.mclellan90@gmail.com

INDIVIDUAL PROJEC T

213

Scotch Whisky today accounts for nearly a quarter of UK food and drink exports and its traditional method of production is one which is rooted in Highland culture. However, a distilling presence has not existed in Highland capital of Inverness since the closure of three major distilleries in the 1980s. Furthermore, Scotch is intrinsically tied to the natural environment, requiring 800,000 tonnes of spring barley to be grown in Scotland each year. Unfortunately, the predicted higher frequency and magnitude of extreme weather events such as drought pose serious threats to the crop and subsequently Scotland’s greatest export. AlbynMhor, who’s namesake comes from two former Inverness distilleries Glen Albyn & Glen Mhor, aims to bring the process of distilling in its entirety, (from grain to cask) into the heart of the Highland capital on a former industrial site. Over the course of 30 years, the project proposes transforming the 50,000m² site into a bio-diverse oasis in the centre of the city with a ground-breaking efficient distilling hall - to be used as a collaborative facility by independent highland distillers - and an associated visitor centre; all concealed behind a wooded parkland and overlooking fields of barley which extend out to the north.

STUDYING AND PRODUCING PL ASTIC MADE FROM 10 0% S U S TA I N A B L E S O U R C E S The reliance on fossil fuels is not just a concern for the UK but for the entire planet. Scotland has often lead the way in developing technologies and engineering practices, so the Bio-Composite centre is no different. Using emergent technology to produce and research plastics made from 100% renewable materials, this institution looks to combine the need for low-skilled labour jobs in the industrial district of Inverness and high-skilled scientific researchers from the University of the Highlands and Islands to create a working and innovation hub.

TUTOR : JO HIBBERT

TUTOR : ROBERT GREGORY

SCOTCH WHISK Y ’S RETURN TO INVERNESS

Built over an old oil refinery, the building salvages segments of oil silos scattered across the site to use as cladding panels and integrated landscape features. Emerging from an industrial wasteland, the project aims to become a beacon of the post-oil age.

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MARCH ARCHITECTURE | YEAR 6

ALBYNMHOR DISTILLERY

BIO-COMPOSITE CENTRE

Sam Betteridge

Sam McLellan

sam.j.h.betteridge@bath.edu

sam.mclellan90@gmail.com

INDIVIDUAL PROJEC T

213

TUTOR : JO HIBBERT

TUTOR : ROBERT GREGORY

SCOTCH WHISK Y ’S RETURN TO INVERNESS

214

MARCH ARCHITECTURE | YEAR 6

I N V E R N E S S C R E M AT O R I U M

A WOMAN’S PLACE

Travis Moy

Jenna Patel

travis.moy@bath.edu

jennadpatel@icloud.com

INDIVIDUAL PROJEC T

DYING IN INVERNESS The Inverness Crematorium offers electric cremation services and aims provide a dignified ceremony for the bereaved family before they say their final goodbyes to the deceased, while responding to the increasing demand for cremation in the Highlands. Backed by the Scottish forest, the stone masonry building sits on a hill which faces the animated scenery of the Moray Firth. Inspired by ancient henges, sculptural roof forms leave a prominant physical mark of death in the wild landscape. These roofs use daylight as a tool to craft atmospheres inside main spaces of the crematorium. The building orchestrates a journey of open and closed, introverted and extroverted moments as visitors reflect on life and death, while fulfilling the functional requirements of keeping different cohorts and coffins flowing uninterruptedly through their own journeys and processes.

215

A Woman’s Place acts as a prototype of the Live/ Work/Care model for Single Mothers in Inverness and tests a housing typology which is centred around a household type other than the nuclear family, creating a home and community which caters to Single Mothers and their children in a society which has rarely been kind to them. In order to satisfy the three elements of the model the scheme includes long term and short term housing, a weaving studio and a nursery. All of the scheme’s communal uses are based on the ground floor, centred around the community kitchen. Above the communal base sits the accommodation, all accessed off an open and social deck circulation system. Woven throughout the scheme are a series of courtyards which offer spaces of reflection and activity for both the Mothers and children.

TUTOR : ANNE CL A X TON

SOCIAL HOUSING FOR SINGLE MOTHERS

It is hoped that this scheme will act as a catalyst for change within housing design. An effort to begin dismantling the nuclear family home as patriarchal tool, resulting in housing which caters to the ever growing number of ‘non-traditional’ families.

216

MARCH ARCHITECTURE | YEAR 6

I N V E R N E S S C R E M AT O R I U M

A WOMAN’S PLACE

Travis Moy

Jenna Patel

travis.moy@bath.edu

jennadpatel@icloud.com

INDIVIDUAL PROJEC T

215

TUTOR : ANNE CL A X TON

SOCIAL HOUSING FOR SINGLE MOTHERS

216

E D U C AT E

EXHIBIT

N AT U R E R E S E R V E R E S E A R C H & VISITOR CENTRE

INVERNESS CITY HALL

Lugain Rfidah

Dmitry Samartsev

lugainerfidah@gmail.com

dmitry.samartsev@bath.edu INDIVIDUAL PROJEC T

INDIVIDUAL PROJEC T

MARCH ARCHITECTURE | YEAR 6

RESEARCH

Plant extinction is currently 500 times higher than expected to occur naturally, with 36 rare plants in Scotland classified as protected species. This diminishing number of plant species has a correlating effect on biodiversity, in particular birds species, which are seeing greater decline in Scotland than the rest of the UK. The Wild Life Trust chief executive has outlined that our nature reserves are too small for long term conservation of wildlife. Merkinch Nature Reserve Research & Visitor Centre is a response to Inverness’ masterplan proposal to expand the existing nature reserve, which in turn re-greens the northern edge of the city and responds to the existing flood risk. As an extension of the masterplan, Merkinch nature reserve visitor & research centre acts as a catalyst overlooking the reserves expansion. Serving as a mediator between the coastal and inland environment, the centre seeks to address both the scientific and social value of our natural environment through an immersive user experience, that also encourages the growth and protection of local and endangered flora.

217

A CITY HALL FOR A GROWING CITY Located in the heart of the city, Inverness City hall sits between the Castle and the river. The complexities of the site levels and the needs to respond to both natural and urban contexts have resulted in a proposal that plays with level changes within a public internal and external landscape, with routes both inside and outside the building leading past moments of excitement as you journey through. Driven by the needs of an expanding city, outdated council buildings and an eroded identity of the city, various programmes are combined to form a dynamic place where flexible spaces allow for events to take place throughout the day.

TUTOR : AL AN KEANE

T U T O R : J AY N E B A R L O W

RESTORING ECOLOGY

Featuring community offices, a spacious debate chamber and an art gallery, the proposal uses local materials such as Caithness sandstone and British Red Western Cedar to create spaces with a sense of both warmth and grounding within a folded landscape, filled with delight even on a cold winters day.

218

E D U C AT E

EXHIBIT

N AT U R E R E S E R V E R E S E A R C H & VISITOR CENTRE

INVERNESS CITY HALL

Lugain Rfidah

Dmitry Samartsev

lugainerfidah@gmail.com

dmitry.samartsev@bath.edu INDIVIDUAL PROJEC T

INDIVIDUAL PROJEC T

MARCH ARCHITECTURE | YEAR 6

RESEARCH

217

TUTOR : AL AN KEANE

T U T O R : J AY N E B A R L O W

RESTORING ECOLOGY

218

NOTTINGHAM Eng l an d , U K

T h e G re e n H e ar t o f Eng l an d

G roup Mas terplan

1 . N o t t s Co un t y Co m m uni t y St a dium

A lf ie Snowdon

2 . “ In T h e Zon e”

C aspian Wat t

3 . T h e Sto r y t e lling Ce n t re

O liver C umming s

4 . Fung al A p o t h e c a r y G regor y Wot ton

5 . Ψ Y XH (S o ul)

C ons t antinos G regoriou 1 2

6 . St a t io n x A s s e m b l y

G ent a O k amoto

NOTTINGHAM Eng l an d , U K

T h e G re e n H e ar t o f Eng l an d

G roup Mas terplan

1 . N o t t s Co un t y Co m m uni t y St a dium

A lf ie Snowdon

2 . “ In T h e Zon e”

C aspian Wat t

3 . T h e Sto r y t e lling Ce n t re

O liver C umming s

4 . Fung al A p o t h e c a r y G regor y Wot ton

5 . Ψ Y XH (S o ul)

C ons t antinos G regoriou 1 2

6 . St a t io n x A s s e m b l y

G ent a O k amoto

MARCH ARCHITECTURE | YEAR 6

THE GREEN HEART OF ENGLAND

Oliver Cummings, Constantinos Gregoriou, Genta Okamoto, Alfie Snowdon, Caspian Watt, Greg Wotton.

MASTERPL ANNING

NOTTINGHAM, England, UK

Through our proposals and masterplan intervention, we aim to take on the councils challenge, and transform Nottingham into a net zero operational carbon city by 2028. This has been quantified and used to influence our key strategies. Furthermore, our vision aims to improve the social and economic sustainability of the city through community interventions and investment. If successful, we imagine Nottingham as not only the first carbon neutral city in the UK, but also an attractive and wealthy city where people want to live. Our ambition is to incentivise business to invest in Nottingham as a direct result of green policies, and set a green example for UK industry; The Green Heart of England.

L O C AT I O N : N O T T I N G H A M

NET ZERO CARBON CITY

The locale is a key stitch of the masterplan proposal that transforms a major road into a green pedestrianised leisure route with tramway; reconnecting the city to its waterways whilst encouraging investment for the redevelopment of surrounding brownfield sites and integrating the previously disconnected communities into the city fabric.

221

222

MARCH ARCHITECTURE | YEAR 6

THE GREEN HEART OF ENGLAND

Oliver Cummings, Constantinos Gregoriou, Genta Okamoto, Alfie Snowdon, Caspian Watt, Greg Wotton.

MASTERPL ANNING

NOTTINGHAM, England, UK

L O C AT I O N : N O T T I N G H A M

NET ZERO CARBON CITY

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222

MARCH ARCHITECTURE | YEAR 6

NOT TS COUNT Y C O M M U N I T Y S TA D I U M

“ IN THE ZONE”

Alfie Snowdon

Caspian Watt

alfsnowdon@gmail.com

caspianwatt@gmail.com

INDIVIDUAL PROJEC T

223

‘Going to the match’ alludes to a world where traditional values of community and loyalty are upheld. A romantic glimpse back to a football world untainted by the excesses of the contemporary game, the identities of these clubs and their grounds was part of, and often a focus for, a stubborn pride, that people held for their community. The roar of the crowds assembled inside these grounds would be a collective assertion of this identity, community and mutual affinity. This transformative proposal will retain the traditional English vernacular style of 4 stands, whilst utilising contemporary practices and technology. The towers, necessary to illuminate the field, have the most symbolic roles. Lit like large minerals with sculptural qualities, these towers can be seen from several kilometres away, engaging in dialogue across the city of Nottingham. You don’t watch football you live it, and this stadium is the first of its kind at aiming to encapsulate this passion. The scheme will be a successful and exciting addition, proudly representing the footballing heritage of the city and inspired by the desire to take Notts County Football Club into a new era of success.

T H E N AT I O N A L C E N T R E F O R FENCING Senior members of British Fencing have proposed to move the National Fencing Centre to Nottingham. This project assumes this proposal will go ahead, and provides a design for a purpose built fencing centre in the city. The project includes provisions for training and competitions, as well as accommodation for athletes, offices for British Fencing administration staff, and a publicly accessible cafe.

TUTOR : AL AN KEANE

TUTOR : ROBERT GREGORY

G O I N G T O T H E M AT C H

The project is concerned with an appropriate contextual response to a riverside industrial site, as well as providing an ideal internal environmental condition for high performance sport. The project also explores the poetic articulation of structural and facade strategies, embodying the philosophies of fencing in the building fabric.

224

MARCH ARCHITECTURE | YEAR 6

NOT TS COUNT Y C O M M U N I T Y S TA D I U M

“ IN THE ZONE”

Alfie Snowdon

Caspian Watt

alfsnowdon@gmail.com

caspianwatt@gmail.com

INDIVIDUAL PROJEC T

223

TUTOR : AL AN KEANE

TUTOR : ROBERT GREGORY

G O I N G T O T H E M AT C H

224

FUNGAL APOTHECARY

Oliver Cummings

Greg Wotton

ojc.2ad@gmail.com

g.j.wotton@gmail.com

SELF DISCOVERY THROUGH L I T E R AT U R E A N D PERFORMANCE

The proposal creates spaces for storytelling; small or large, formal or informal, reading a book, engaging with literature and others through small groups or big performances. The building aids users to understand stories, including spaces to figure out their own and then reflect upon this, to help people move forward. The form of the building responds to the industrial character of the context through utilising reclaimed local bricks creating two volumes with large openings at ground floor, all connected through the foyer and central atrium with in-between spaces, including external terrace gardens, designed for informal theatre or private moments to occur throughout the building. The social value of the project extends beyond the building; becoming a student, community, literary, creative, well-being and socially pioneering proposal as both an architectural typology and as a building for the client (Universities for Nottingham), providing a crucial safespace for students and the user group community whilst establishing an inclusive hub for the city.

FUNGIPHOBIA TO FUNGIPHILIA The proposal breaks down the western stigma of wild mushrooms being psychedelic or poisonous. This Fungiphobia is something that causes negative presumptions of mushrooms within western society. The proposal celebrates the mushrooms medicinal properties and adds to fungal distribution at the centre of the Green heart of England. The proposal spores into the city of Nottingham along Mycelium Way enabling research, teaching & distribution into the greened landscape, while enabling growing of mushrooms inside and outside the building. In so doing all of these actions the proposal creates a Fungiphilic society.

TUTOR : JO HIBBERT

TUTOR : ANNE CL A X TON

This project considers a student and community wellbeing center as a literary hub for Nottingham; providing spaces for the introvert and extrovert to learn and express oneself through performance and storytelling. This manifests a public building combining the architectural typologies of both library and theatre.

225

INDIVIDUAL PROJEC T

MARCH ARCHITECTURE | YEAR 6

THE STORY TELLING CENTRE

The proposal is an existing building retrofit to Passivhaus principles as well as new building with hard wood timber frame breathable construction and natural materials. This allows the buildings to not only be enhancing the landscape but be exemplar carbon negative Passive buildings that celebrates the beauty that can be created with these systems.

226

FUNGAL APOTHECARY

Oliver Cummings

Greg Wotton

ojc.2ad@gmail.com

g.j.wotton@gmail.com

SELF DISCOVERY THROUGH L I T E R AT U R E A N D PERFORMANCE

TUTOR : JO HIBBERT

TUTOR : ANNE CL A X TON

225

INDIVIDUAL PROJEC T

MARCH ARCHITECTURE | YEAR 6

THE STORY TELLING CENTRE

226

MARCH ARCHITECTURE | YEAR 6

Ψ Y XH (SOUL)

S TAT I O N X A S S E M B LY

Constantinos Gregoriou

Genta Okamoto

constantinos.greg@gmail.com

genta.okamoto@gmail.com

INDIVIDUAL PROJEC T

Mental health in Greek, translates to ψυχική υγεία (psychiki ygeia). The word ψυχική , which corresponds to mental, is derived from the word ψυχή (psychi), which in turn translates to soul. It is interesting that one term speaks of the health of the mind while the other speaks of the health of the soul. Ψυχή attempts to look at mental health as the ‘Search for a Healthy Soul’ in order to unlock a deeper and perhaps a more philosophical meaning. To have a healthy soul means to have an understanding of our primary purpose which is to be. The project explores different means of stimulating our senses, be it through light, smells or textures, in order to create a symbiosis between a tangible and an intangible world. This intangible world is merely a ‘home’ in a metaphysical world, which gives purpose and a place in a physical world. This theoretical project offers people of all ages who are experiencing acute mental health problems a safe space, in which, they can learn more about their problem, interact with people who are experiencing similar problems, self reflect and grow.

227

In response to the political disengagement that Nottingham faces today, this project designs an Assembly Building within an extension to the existing Nottingham Station. It capitalises on the transient and egalitarian nature of the station to capture ideas for the Citizen’s Assembly – a new, bottom-up approach to policymaking. The new extension aims to not conflict but to enhance the existing station. In contrast to the monolithic, masonry edges of the existing station, lying adjacent to a traffic-heavy road, the extension creates permeable, ambiguous thresholds, which diffuse into the adjacent public Garden, and into the Green Route of the new proposed city.

TUTOR : ROB GREGORY

T U T O R : J AY N E B A R L O W

I N S E A R C H O F A H E A LT H Y SOUL

A C ATA LY S T F O R M A K I N G PLACE FOR THE NEW NOT TINGHAM

In the Assembly Hall, placed as the headpiece for the concourse, a subtle enclosure is made from fragmented Glulam columns to respond to the challenge of creating a comfortable space for discussion, without disconnecting it from the concourse. A spiralling, public staircase connects the Urban Room on the high street level, Assembly Hall on the concourse level and a public living room at the top of the tower and invites the public to a transparent and seamless journey through the new democratic process.

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MARCH ARCHITECTURE | YEAR 6

Ψ Y XH (SOUL)

S TAT I O N X A S S E M B LY

Constantinos Gregoriou

Genta Okamoto

constantinos.greg@gmail.com

genta.okamoto@gmail.com

INDIVIDUAL PROJEC T

227

TUTOR : ROB GREGORY

T U T O R : J AY N E B A R L O W

I N S E A R C H O F A H E A LT H Y SOUL

A C ATA LY S T F O R M A K I N G PLACE FOR THE NEW NOT TINGHAM

228

PERPIGNAN

Fr an ce

Re a d y, Tê t , G o !

G roup Mas terplan 1

1 . Fo r m ul a E Ce n t re A ndre ea D r ago ș

2 . H ub J o f f re

Seb as tian Jaunzens 4

3 . L avoir ( Wa s h H o u s e)

Nathalie Hurls tone

4 . T h e J ewe ll e r y Co ll e c t i ve A le c Well

5 . L e Puig S o u t ré

Rèï D umand

PERPIGNAN

Fr an ce

Re a d y, Tê t , G o !

G roup Mas terplan 1

1 . Fo r m ul a E Ce n t re A ndre ea D r ago ș

2 . H ub J o f f re

Seb as tian Jaunzens 4

3 . L avoir ( Wa s h H o u s e)

Nathalie Hurls tone

4 . T h e J ewe ll e r y Co ll e c t i ve A le c Well

5 . L e Puig S o u t ré

Rèï D umand

MARCH ARCHITECTURE | YEAR 6

CANET - PERPIGNAN - VILLEFRANCHE R E A DY, T Ê T, G O !

Andreea Dragoș, Rei Dumand, Nathalie Hurlstone, Seb Jaunzens, Charlie Clayton, Alec Wells

Villefranche-de-Conflent

Prades

Vinça

Perpignan

MASTERPL ANNING

PERPIGNAN, France

Canet

231

French Catalonia’s capital city - Perpignan - has undergone rapid expansion since the turn of the 20th century, when the Perpignanais razed the outer ramparts that enclosed a 600 year old fortress. The rise of the automobile, coupled with poor policy, has contributed to urban sprawl and a decaying quality of city life. The city also faces issues of water mis-management and the lack of realisation of Perpignan’s ‘rich’ renewables potential. As such the Masterplan proposal focusses on re-prioritising the hierarchy of the public realm for people first, cyclists, public transit then cards. The locale strategy aims to ‘slow the flow’ of people, water and the masses of untapped energy that pass through the city everyday. The proposal turns the city towards its long ignored river, La Têt, flipping the public realm from a four lane dual carriageway to becomes a highway of human activity, culture, energy research and production. As the riparian spine becomes the new centre, secondary development channels, controlled by new policy, restrict sprawl and create a softer, more liveable city. Where channels have spine meet, confluences of activity are formed with improved crossing nodes and towers offering views to connect inhabitants back to the mountains and sea that define the city’s history.

ine The New Tram L

FROM MOUNTAIN TO SEA, AND BACK !

L O C AT I O N : P E R P I G N A N

C O N N E C T I N G M O U N TA I N S , C I T Y, S E A A N D R I V E R

232

MARCH ARCHITECTURE | YEAR 6

CANET - PERPIGNAN - VILLEFRANCHE R E A DY, T Ê T, G O !

Andreea Dragoș, Rei Dumand, Nathalie Hurlstone, Seb Jaunzens, Charlie Clayton, Alec Wells

Villefranche-de-Conflent

Prades

Vinça

Perpignan

MASTERPL ANNING

PERPIGNAN, France

Canet

231

ine The New Tram L

FROM MOUNTAIN TO SEA, AND BACK !

L O C AT I O N : P E R P I G N A N

C O N N E C T I N G M O U N TA I N S , C I T Y, S E A A N D R I V E R

232

MARCH ARCHITECTURE | YEAR 6

FORMULA E CENTRE

HUB JOFFRE

Andreea Dragoș

Seb Jaunzens

andreea.dragos15@gmail.com

sajaunzens@gmail.com

INDIVIDUAL PROJEC T

Between 1946 and 1949, Perpignan was present at the heart of the first Formula 1 events in the world, hosting the Roussillon Grand Prix. This scheme proposes the revival of the city’s racing heritage, following a more sustainable agenda aimed at reducing the carbon emissions of the automotive industry: Formula E - Electric Racing. The scheme proposes a Formula E Campus in the heart of the City, restoring the historical street racing course, Le Platanes. As part of this new campus, the Formula E Centre rises as a Research and Development Centre for Alternative Fuel Engines, an integral part of the future of sustainable motor-sport. As part of its programme, the centre focuses on research, prototyping and testing of new sustainable engines. The Centre offers a new ground for the public to enjoy racing, to learn about sustainable automotive design, and to experience the technological advancements right in front of their eyes. To engineers, mechanics and race drivers, the Centre represent a playground for their field to grow in. In the long term, the centre will become a space for technological development, marking Perpignan on the sustainable automotive industry map.

233

MIXED-USE MICROMOBILITY CENTRE The masterplan for Perpignan sets out a vision where the city regains its Catalan heritage, activates the river ‘La Têt’ and addresses issues of urban sprawl, proposing a green transport strategy, re-introducing trams into the city. This project delves further into the transport renewal strategy, investigating and exploring what a future sustainable city looks like in delivering the movement of people and goods. Hub Joffre presents a micromobility centre: a place for sustainable travel and community engagement. The essence of this intervention is to give the people of Perpignan the infrastructure and solutions to re-energise, mending social tensions, activating employment opportunities and creating a buzz about he city. Through micrombolity it explores the idea of “exchange”, be that physical or social, material or non-material. It welcomes a sustainable future where green modes of transport support a city and its occupants, enabling social, environment and economic agendas to prosper in a location with “rich potential energy”

TUTOR : AL AN KEANE

TUTOR : ROBERT GREGORY

S U S TA I N A B L E R A C I N G

234

MARCH ARCHITECTURE | YEAR 6

FORMULA E CENTRE

HUB JOFFRE

Andreea Dragoș

Seb Jaunzens

andreea.dragos15@gmail.com

sajaunzens@gmail.com

INDIVIDUAL PROJEC T

233

TUTOR : AL AN KEANE

TUTOR : ROBERT GREGORY

S U S TA I N A B L E R A C I N G

234

MARCH ARCHITECTURE | YEAR 6

L AVO IR (WA SH H O USE)

THE JEWELLERY COLLECTIVE

Nathalie Hurlstone

Alec Wells

N-Hurlstone@outlook.com

awells209@gmail.com

INDIVIDUAL PROJEC T

A MODEL FOR CRAFT & S U S TA I N A B I L I T Y I N T H E JEWELLERY INDUSTRY

235

Water is indiscriminate - a necessity to us all. Perpignan has an abundance of water however, its mismanagement is dissolving the medieval neighbourhood of Saint-Jacques. Despite its location in the historic centre of Perpignan, SaintJacques faces economic, social, physical and political challenges. Water damage to architecture as a result of poor maintenance and regulation have sentenced 483 buildings to demolition. The culture of the prevalent Romani population - ‘the soul of Perpignan’ - is threatened with being washed away. This project applies water as a solution to reconcile the relationship between Saint-Jacques and Perpignan; voids carved out by demolition are ‘filled’ with water to regenerate a fragmented community. The management of water as a shared resource and reinstatement of a historic supply will act as catalysts for a series of interventions. The flagship, a Lavoir (Wash House) will connect to primary public spaces for necessity, play, ritual and celebration. From these, streets will flow into secondary water ‘houses’ and tertiary infrastructure. It is intended that these insertions will realise Saint-Jacques’ value as worthy of UNESCO World Heritage Status.

Perpignan, the only place on earth where the traditions of jewellery making and metal smithing are still practiced today using the same techniques used 400 years ago. This tradition has persevered thanks to a genuine appreciation for art, pageantry and a special association - of the handmade jewels of blood red garnet stones set in gold, with Catalan identity and culture. Continuing tradition faces significant challenges today - chief among them the unsustainable sourcing of garnet + the phenomenon of fast fashion & mass production. This project focuses on reinvigorating Perpignan’s status in the jewellery world - through bringing production processes back into Perpignan’s control and becoming a new icon for the jewellery industry’s sustainable, craft focussed future in the city.

TTUUTTO ORR:: J( A T YUNT EO RB ANRALM OEW)

T U T O R : (RTOUBTEOR RT N GA RE MGEO) R Y

A COMMUNITY CENTRE FOR S A I N T-J A C Q U E S

This is achieved by marrying science and craft (labs & workshops), preserving tradition (antique garnet musuem) and facilitating the next generation (institute). These 3 key programmes are knitted together by a public parade route that links the city back to it’s river, and a central courtyard intended to become the final celebration space of the annual St. Eloi jewellery festival where patrons deck themselves out in medieval garms in honour of the unique tradition.

236

MARCH ARCHITECTURE | YEAR 6

L AVO IR (WA SH H O USE)

THE JEWELLERY COLLECTIVE

Nathalie Hurlstone

Alec Wells

N-Hurlstone@outlook.com

awells209@gmail.com

INDIVIDUAL PROJEC T

A MODEL FOR CRAFT & S U S TA I N A B I L I T Y I N T H E JEWELLERY INDUSTRY

235

TTUUTTO ORR:: J( A T YUNT EO RB ANRALM OEW)

T U T O R : (RTOUBTEOR RT N GA RE MGEO) R Y

A COMMUNITY CENTRE FOR S A I N T-J A C Q U E S

236

Rèï Dumand

TO T U T O R : (ATNUNTEO CR LNAAX M E )N

INDIVIDUAL PROJEC T

rdumand@yahoo.fr

WINERY IN THE ROUSSILLON This is a proposal for the Domaine du Puig Soutré, a new winery in the Eastern viticultural area of Perpignan, capital city of the Roussillon. Just stone-throws away from the city, the winery is at the heart of an exceptional historic and natural site, inscribed within a complete oenotouristic experience. The full complex includes a renovated farmhouse, a castle turned boutique hotel, a chapel and a footbridge. A network of promenades tie all the programmatic elements together. Different structural and tectonic uses of natural stone explore how the building can reflect core values of winemaking: honest, local and natural. Le Domaine du Puig Soutré paves the way for the Roussillon’s renaissance as a key player in French viticulture, known for its fine tasting, highly regarded, environmentally conscious wines.

237

M. ARCH CL ASS OF 2022 - GROUP TRIP TO EACH CIT Y

MARCH ARCHITECTURE | YEAR 6

LE PUIG SOUTRÉ

Rèï Dumand

TO T U T O R : (ATNUNTEO CR LNAAX M E )N

INDIVIDUAL PROJEC T

rdumand@yahoo.fr

237

M. ARCH CL ASS OF 2022 - GROUP TRIP TO EACH CIT Y

MARCH ARCHITECTURE | YEAR 6

LE PUIG SOUTRÉ

TRIESTE

Italy

C ap i t al o f K ar s t an d S e a G roup Mas terplan

1 . Tr ie s t e Sto r y V ill age G reg W illiams on

2 . Trie s t e Ce n t re f o r L i t e r a t ure Daniel French

3 . C a s a Di C in e ci t t à W ill Ro ok

TRIESTE

Italy

C ap i t al o f K ar s t an d S e a G roup Mas terplan

1 . Tr ie s t e Sto r y V ill age G reg W illiams on

2 . Trie s t e Ce n t re f o r L i t e r a t ure Daniel French

3 . C a s a Di C in e ci t t à W ill Ro ok

MARCH ARCHITECTURE | YEAR 6

C A P I TA L O F K A R S T A N D S E A

Daniel French, Will Rook, Lynsey Hogarth, Katie Denham, Greg Williamson, Hazel Cozens

MASTERPL ANNING

TRIESTE, Italy

Trieste is a border city. Once Austro-Hungarian, now recently Italian, its turbulent history and fleeting prosperity have created an issue with the city’s identity. Situated in the beautiful context of the Karst Plateau and the Adriatric, vast swathes of port structure and industry have suffocated its heritage, leaving it prone to flooding and suffering from high levels of pollution. Whilst the city continues to struggle with its Italian cultural identity, our masterplan seeks to resolve the city’s physical identity. The main intervention is along Trieste’s waterfront, a former 5 lane road with disused piers [molo] punctuating out into the Adriatic. Extending into the city as threads, the piers [molo] form the primary means of the masterplan’s aim to reconnect Karst to Sea. They are proposed as cultural interventions for the city’s Capital of Culture bid, in the hope that celebrating the city’s uniqueness will aid it to overcome its physical and environmental predicament.

241

L O C AT I O N : T R I E S T E

RECONCILING IDENTITY

Reconciling the seafront

Creating a spine

Protecting the bay 242

MARCH ARCHITECTURE | YEAR 6

C A P I TA L O F K A R S T A N D S E A

Daniel French, Will Rook, Lynsey Hogarth, Katie Denham, Greg Williamson, Hazel Cozens

MASTERPL ANNING

TRIESTE, Italy

241

L O C AT I O N : T R I E S T E

RECONCILING IDENTITY

Reconciling the seafront

Creating a spine

Protecting the bay 242

MARCH ARCHITECTURE | YEAR 6

TRIESTE STORY VILL AGE

TRIESTE CENTRE FOR L I T E R AT U R E

Gregory Williamson

Daniel French

gregwilliamson1200@gmail.com

danielfrench8@gmail.com

INDIVIDUAL PROJEC T

243

Dementia is a devastating disease, heavily impacting the lives of sufferers and their families. Trieste Story Village alleviates these issues by drawing upon the city’s strong literary heritage and providing a pioneering treatment which combines intergenerational care with storytelling. The Model Village provides a protected community within Trieste with all the amenities necessary for those with dementia to live independently. A series of communal landscapes with distinct, sensory planting create a calming environment in which residents can grow their own produce and provide orientation tools to accommodate the wandering walking patterns of Dementia sufferers. Both long term care, in the form of two independent housing typologies, and short term care, in the form of a Respite Centre, are included as part of the development. These programmes integrate with a Nursery on site, allowing mutual learning and growth between the young and old through storytelling. Storytelling is accommodated in a series of tall timber pavilions which provide nodes for residents to orient themselves around.

This thesis project represents an exploration of archetypal building typologies and their manifestation on an urban site wrought with constraints. The design seeks to celebrate these complexities by providing a rigorous response to the unique condition within the site boundary, whilst positing the building as a new landmark in the wider family of civic buildings in the city. Taking reference from the immediate context and requirements of the city, a diverse building programme that seeks to encourage the exchange of knowledge was developed. Its manifestation as a successful urban intervention on the site was the primary intent behind this thesis, and the parameters established by the level change and immediate context were the driving force behind it.

TUTOR : AL AN KEANE

TUTOR : JO HIBBERT

A MODEL VILLAGE FOR THE DEMENTIA COMMUNITY OF TRIESTE

A NEW CIVIC LIBRARY AND C U LT U R A L H U B F O R T H E C I T Y O F T R I E S T E , I TA LY.

By exploring the relationships between site, context and programme, this unique and bespoke scheme aims to present a solution that reconciles the challenging morphology of the site and reconnects the new city to the old, whilst responding in mass and form to its adjacencies. It seeks to truly embed itself within the city, mediating between a number of conditions to establish itself as a design solution to the challenging physical constraints of its location. 24 4

MARCH ARCHITECTURE | YEAR 6

TRIESTE STORY VILL AGE

TRIESTE CENTRE FOR L I T E R AT U R E

Gregory Williamson

Daniel French

gregwilliamson1200@gmail.com

danielfrench8@gmail.com

INDIVIDUAL PROJEC T

243

TUTOR : AL AN KEANE

TUTOR : JO HIBBERT

A MODEL VILLAGE FOR THE DEMENTIA COMMUNITY OF TRIESTE

A NEW CIVIC LIBRARY AND C U LT U R A L H U B F O R T H E C I T Y O F T R I E S T E , I TA LY.

MARCH ARCHITECTURE | YEAR 6

MARRAKESH

M o ro cco

C A S A D I C I N E C I T TÀ TRIESTE FILM INSTITUTE William Rook

1 . S an c t u ar y o f T h o ugh t s

william.m.rook@gmail.com INDIVIDUAL PROJEC T

A nna Phillip

TO T U T O R : (ATNUNTEO CR LNAAX M E )N

REDISCOVERING CINEMA

245

A new home for the thriving cinephile community in Trieste, Casa Di Cinecittà is a place devoted to the consumption, education and production of European film. From the many international film festivals, to the active on-site shooting within the city and the legacy of Italy’s first film history course, Trieste is full of cinema fanatics. The project provides a space of cultural exchange suitable for the waterfront that helps affirm the identity of Trieste as a ‘‘Mitteleuropa’’ a place of cultural mixing, where east meets west. Nestled between a context of industry, classical heritage and the Adriatic Sea, the proposed public square provides opportunities for external screenings during year round festivities. The building programme is divided horizontally into three parts with each expressed as a volume protruding from a shared plinth. To the north a cinema with catering facilities, event space and a members room with panoramic views. At the southern end a film school with production facilities. Between the two a central volume acts a lens between production and consumption, providing exhibitions on the making of films, a public library and professional equipment rental.

MARCH ARCHITECTURE | YEAR 6

MARRAKESH

M o ro cco

C A S A D I C I N E C I T TÀ TRIESTE FILM INSTITUTE William Rook

1 . S an c t u ar y o f T h o ugh t s

william.m.rook@gmail.com INDIVIDUAL PROJEC T

A nna Phillip

TO T U T O R : (ATNUNTEO CR LNAAX M E )N

REDISCOVERING CINEMA

245

Anna Phillip

INDIVIDUAL PROJEC T

annarphillip@outlook.com

TO T U T O R : (ATNUNTEO CR LNAAX M E )N

M A R R A K E S H PA L L I AT I V E CARE

247

The proposal is located in the heart of the Medina, in close proximity to Moulay Al Yazid Mosque and it is integrated within the local urban grain by reusing an area of dilapidated and demolished residential units—Riads. The external Medina wall is maintained in certain areas and the proposal develops within its borders. This is not only very specific of the organic grain that the old city has developed through hundreds of years but also very true to its local North African building character. This is a part of the Medina where the French colonial style has not affected the public realm or building typology. The site is ideal due to the spiritual identity of the square and the connection with the mosque, patients being able to listen to the morning prayer from the Sanctuary’s Gardens. The proposal is to create an experience, a connective dream between the two worlds, inside–outside and life-death. The site is selected due to the character of the area, which is suitable for a Palliative Care Centre— Sanctuaries for terminally ill Moroccan people, benefiting of a better experience that the average hospice facility. The design typology has been created with the desire that the proposed building is designed in close connection to its landscape, that being urban and natural.

M . A R C H C L A S S O F 2 0 2 2 - M O M E N T S O F C E L E B R AT I O N

MARCH ARCHITECTURE | YEAR 6

SANCTUARY OF THOUGHTS

Anna Phillip

INDIVIDUAL PROJEC T

annarphillip@outlook.com

TO T U T O R : (ATNUNTEO CR LNAAX M E )N

M A R R A K E S H PA L L I AT I V E CARE

247

M . A R C H C L A S S O F 2 0 2 2 - M O M E N T S O F C E L E B R AT I O N

MARCH ARCHITECTURE | YEAR 6

SANCTUARY OF THOUGHTS

M.ARCH CLASS OF 2022

TO MANY MORE MEMORIES...

M.ARCH CLASS OF 2022

TO MANY MORE MEMORIES...