Open 2015 by Clare Hamman

OPEN 2015

Open 2015

ISBN: 978-0-9562793-4-7 Cover image: Miranda Hammond Designed by Clare Hamman First published June 2015 Printed London Copyright ÂŠ University of Westminster

Contents Introduction

BA (Hons) Interior Architecture

Interior Architecture First Year Interior Architecture Second Year Interior Architecture Third Year

BA (Hons) Architecture [RIBA Part I] First Year DS01 DS02 DS03 DS04 DS05 DS06 DS07 DS08 DS09 Cultural Context Essay Technical Studies

MArch Architecture (RIBA Part II) DS10 DS12 DS13 DS14

6 12 18 24 26 40 46 52 58 64 70

DS15

126

DS16

132

DS17

138

DS18

144

DS19

150

Dissertation

156

Digital Representation

160

Masters Degrees

164

MA Architecture

166

MA Interior Design

170

MSc Architecture & Environmental Design 172

Research

174

Research Groups

176

AmbikaP3

184

Westminster Architecture Group

186

Robin Partington Material Practice Awards

188

100

Staff

190

102

Practice Links 2015

192

108

Architecture Department Restoration Plans

193

114

Sponsors

194

94 96

120

OPEN 2015 celebrates the extraordinary achievements of the Department of Architecture’s students and the staff who support them. Attempting to balance diversity with excellence is something of a high-wire act, yet, as this catalogue illustrates, the work of our students abounds in both; a reflection of the Department offering students the opportunity to develop their individual design skills within a context of continually expanding theoretical and critical knowledge. Similarly, as the Department promotes architecture as a discipline with distinct ethical and environmental responsibilities, so it encourages the practice of design as an informed artistry that can contribute to both shaping and making a project. Over the last year we have continued to grow and prosper: our students won a number of major international awards; September 2014 saw the timely introduction of the MSc. in Architecture and Environmental Design; in April 2015 we opened the Digital Fabrication Laboratory, giving the Department an unprecedented set of opportunities to prototype and manufacture architecture, the results of which will resonate through our work in the coming years. Finally, the University has approved the Department’s plan to restore and expand its studios, adding 40% more space, and upgrading environmental performance and comfort. This work will be completed this summer. There have been significant changes to staff in the last year. In September 2014, after many years of remarkable leadership, Katharine Heron stepped down as Head of Department, and in the New Year 2

we were delighted when she was rewarded with the MBE for her services to architectural education. Darren Deane joined the Department as Course Leader for the MArch, and Lara Rettondini joined the Interior Architecture team, while François Girardin moved on after years of extraordinary work. A number of new practitioners also joined the Design Studio staff, adding to the students’ engagement with live practice issues, and offering practitioners an experimental academic space in which to explore things that are important to practice – but which practices can rarely afford to do; a triangulation of teaching, research and practice that exposes the so-called practice-education divide for the tired cliché it is. Perhaps it is not surprising that practices continue to value our graduates, and that our links to practice continue to strengthen: through the Department’s Part 3 course which now educates one-third of all architects in this country; through our undergraduate placement scheme; through the number of part-time visiting lecturers, experts, critics and examiners who so generously give their time to the Department; and, finally, through sponsorship from practices, notably Robin Partington Partnership. In my first year as Head, I have been overwhelmed by the endeavour and invention of the Department. Please enjoy the show, and join me in congratulating all those involved in it. Harry Charrington Head of the Department of Architecture

Welcome to OPEN 2015

is a distinct context-based practice concerned with rereading, reusing and altering an architectural shell. Whether at the scale of the city, a building, or a room, the ‘interiorist’ always starts with something and within something. London is the ideal testing ground, the students are sent out and about to respond to a variety of host structures. The techniques they use are varied; measured and programmatic, subject to chance as in the dérive or entirely subjective as the ‘carefully considered selfie’. The differing techniques providing a starting point for a huge variety of interventions. By altering a host structure Interior Architecture allows a building to have many different lives.

INTERIOR ARCHITECTURE

The course is now in its sixth year and strong recruitment resulted in the decision to double the size of this year’s first year intake. A decision that brought new staff, a second studio space and made us think carefully about what we do. In addition to this we set up formal links with MA Interior Design, with staff teaching across the programmes and a very successful competition with 130 students working in mixed teams across the two courses. Thank you to Granta for providing the prizes. We continue to be involved in designing and building exhibitions as a form of ‘live project’ and will be exhibiting graduating students work at the Free 4

Range Art and Design Show in the Truman Brewery on Brick Lane as part of the Interior Educators group. In addition to this a group of second year students will be exhibiting their work in the Peckhamplex building this summer. Alongside guest critics the course benefits from a wide range of design professionals coming in to share their knowledge and experience. We would like to thank the following for lectures and presentations: Ana Araujo (atelierdomino), Stephen Brookhouse, Linzi Cassels (Pringle Brandon Perkins+Will), Amaya Eastman (Vola), Michele Haniotis (Walker Management), Edward Jarvis (Camden Council), Debby Kuypers (RFK Architects Ltd), Barrie Legg (Johnson Naylor), Jane Madsen, Malcolm McGregor (Pringle Richards Sharratt Architects), Alison McLellan (Form_art architects), Adrian Slatter (Design Solutions), Allan Sylvester (Ullmayer Sylvester Architects), and Juan Vallejo.

Ro Spankie Course Leader

BA (Hons) INTERIOR ARCHITECTURE

BA (Hons) Interior Architecture | First Year

Ro Spankie, Lara Rettondini, Allan Sylvester, Alessandro Ayuso, Yota Adilenidou, Sue Phillips, Barti Garibaldo Students: Anisah Ahmad, Dana Al Sowaidi, Nurcan Altun, Aseil Amgheib, Cecilia Aubouy, Jasmine Bagaria, Kinga Bajor, Lina Benaissa, Nabil Benelabed, Shona Brannan, Paige Crowson, April De Alwis, Carla Dela Pena, Kalloni Demetriou, Ezgi Dirik, Aine Duffy, Berfin Erdogan, Vivienne Ezeji, Seem Hajjar, Danielle Harrington, Han He, Louise Heard, Abigail Hinchley, Abigail Horbury, Lewis Huff, Stephanie Ip See Tung, Alycia Ivory, Pamela Jankowska, Zhea Kapadia, Nida Karafakioglu, Daria Kaverzina,

Aliaksandra Kharlan, Napattararat Komnatchanan, Carlotta Lazzerini, Yinqi Liu, Giorgio Maria Lo Porto, Xiang Lu, Wasifa Mahmood, Christina Matay, Aivile Miezyte, Katie Northage, Freya Osborne, Jumoke Oladunni, Ning Pang, Rehan Parikh, Viktorija Prusakovaite, Mamuna Rashid, Yossra Sbaiti, Edona Selmani, Dilini Senaratne, Shavetta Suhayr, Rubina Tihanyi,Tinnaphop Tonitiwong, Magda Truszkowska, Andre Visinho, Helen Wind.

Semester 1: Hinged Study – V&A Museum, London Semester 2: Makers Row – Columbia Road, London In First Year, students on the BA Interior Architecture course are introduced to some fundamental skills and processes through a set of exercises developed across two semesters and two main design projects. In the first semester this year, students were required to design a study space for a researcher in residence at the Victoria and Albert Museum, in London. They first worked in a team to survey their allocated rooms and then developed individual projects providing their chosen researchers with the necessary space and equipment for the study of the objects displayed in the room. Each proposal had to facilitate interaction between the researcher and the public on a daily basis or for occasional special events, taking into consideration different type of audiences and needs. Students were encouraged to design transformable constructs that could be considered as a large piece of furniture and a piece of micro architecture.

In the second semester, students were required to design the interior of a small building by inserting a new hypothetical programme specialised in craftsmanship along Columbia Road, a street in East London well-known for its flower market. Each student chose one of the Victorian houses on Columbia Road as their site and designed a live/work space for a craftsman, accommodating both private and public uses and including facilities for living and working as well as a retail area. The development of each individual project was dictated by the particular craft person’s practice, which students defined based on their individual site investigation and research. The project’s vision was to create a synergy between different types of makers that would allow for trade and a weekly market. This brief gave students the opportunity to speculate and imagine a ‘Makers Row’ where crafts people would collectively coexist, forming an imagined ‘makers utopia’.

Guest Critics: James Abbott, Jade Atkin-Marshall, Matthew Grand (Amos and Amos), Natasha Hayden, Freddie Jackson, Stamatina Kousidi, Diony Kypraiou, Harpreet Lota, Nicolás Marchiaro, Dinali Senanayake, James Stroud (Loyn & Co Architects), Ewald Van Der Straeten (Bradley Van Der Straeten Architects), Adriana Vela Alonso, David Vyce (Universal Design Studio), Krista Zvirgzda . (top) Abigail Hinchley: 1:20 Model - Three Views; (bottom) Alycia Ivory: 1:20 Model 6

BA (Hons) Interior Architecture | First Year

(top) Ezgi Dirik: Concept Image; (bottom) Ning Pang: 1:20 Model

(top) Paige Crowson: Concept Image; (bottom) Edona Selmani: Concept Image

BA (Hons) Interior Architecture | First Year

(top) Aliaksandra Kharlan: Isometric View; (bottom) Nurcan Altun: 1:20 Model

(top) Aseil Amgheib: Collage; (bottom) Kinga bajor: Collage

BA (Hons) Interior Architecture | Second Year

Alessandro Ayuso, Mike Guy, Barti Garibaldo, William Bondin Students: Rija Ahmed, Bayan Alnasser, Kalyar Aung, Sophia Arzu Aytekin, Sajida Begum, Hannah Brennan, Urszula Celli, Letizia Corsoni, Sara Daaboul, Paraskevi Demetriou, Lizaveta Drobot, Stephanie Georgiou, Radima Gudieva, Kitty Heston, Fran Hoffmann, Monika Hudiova, Salwah Joonus, Garith Maatouk,

Roxanne Magnusdottir Bjarnason, Rosie Martin, Marilyn Masen, Laura Metcalfe, Kirstie Or, Melissanthi Papacharalampous, Pattaraporn Pattanawanitkitkul, Nicoletta Petrou, Maria-Eleni Saltapida, Carole Tan, Amin Tashayoienejad, Linda Tentori, Nyalie Waterhouse-Shah, Gianna Yip

Creative Clerkenwell Centre and Peckham Catalyst The term began with two exercises where the students considered workspaces: the first was a collage that depicted their own ideal workspace as a design manifesto, and the second was a detailed set of 1:10 drawings of the real space where they actually do their design work. The students then turned their attention to the Farmiloe building. In order to generate a specific reading of the building and its context, they made collages showing the discoveries they made during dérives, inserted drawings of their own workspaces into drawings of the existing building to get a sense of scale, and constructed analytical models of the building. Based on this research, the students designed ‘Creative Clerkenwell Centres.’ The workspaces for resident artists and writers were designed in detail, but the designs also integrate an art gallery, a café, a members’ library, and offer new venues for offices and film shoots.

Guest Critics: Sophie Fuller, Jesse Fyfe-Loose, Matthew Grand (Amos and Amos), Anne-Laure Guiot (Penoyre & Prasad Architects), Diony Kypraiou, Felipe Lanuza, Oscar McDonald, Alice Simmons (Make Architects), Eva Sopeoglou, Alessandro Zambelli, Fiona Zisch 12

The second term started with a fundamental aspect of design: material. Each student was asked to demonstrate a verb with a given material through the construction of a series of maquettes. Students were then asked to design a staircase that allowed for performance in two ways: the performance of the given material and the performance of everyday life. To better understand the site, the Peckhamplex building, the students surveyed and drew it, analysed its context, and for a more subjective understanding, took carefully considered ‘selfies’ in situ. The students then designed a grafted urban interior to augment the building and rejuvenate a dormant fragment of the city. These catalytic pieces enable a new entry and public space on Moncrieff St, new vertical circulation to access all floors of the building and the roof, include a community-based radio station’s broadcast studio, and house a programme unique to each project.

Thanks to: Feilden Clegg Bradley Studios; Pollard Thomas Edwards; Peckhamplex; & Best of Britannia. Linda-Tentori: Sectional Perspective of the Peckham Catalyst during Wintertime

BA (Hons) Interior Architecture | Second Year

Carole Su Hua Tan: (top) Perspective view of Creative Clerkenwell Centre courtyard; (bottom l , c) Peckham Catalyst model; (bottom r) Analytical drawing Peckham Catalyst

Laura Metcalfe: (top) Analytical model of the Farmiloe building; (bottom) Study model of the Creative Clerkenwell Centre project

BA (Hons) Interior Architecture | Second Year

Katharine Heston: Section & Sectional Perspective of the Peckham Catalyst Project

Radima Gudieva: Study Models for the Peckham Catalyst

BA (Hons) Interior Architecture | Third Year

Julia Dwyer, Dusan Decermic, Lara Rettondini, Steve Jensen Students: Ziad Abuzeid, Tobi Agunbiade, Bane Alsabawi, Esma Al-Sibai, Qays Anis, Bhavini Asawla, Iliana Capsali, Alessandra Catello, Basak Ejder, Chloe Farrell, Noor Habbab, Jack Haggerty, Elaine Hardy, Daniel Jones, Gurtej Kaur, Jerrymore Kisekka, Alice Ly, Daniel Manoharadas, Lara Matar, Katherine Mathew,

Thalia Moros, Sara Narramore, Nikolas Nikolaou, Wulan Purnamasari, Zain Said, Sara Samra, Maryam Sheikh, Dajana Skoric, Jessica Taliadoros

Interrogating Brixton Third year began with an interrogation of the ‘found’: the cultures, spaces and materials offered up by a city neighbourhood which inform and help to generate design projects. Brixton was the subject of investigation this year: students‘ early studies led to the creation of taxonomies of aspects of the town centre which were brought together to form a patchwork of material and cultural inspirations. Vacant or part-used urban fragments in and around Brixton’s railway viaducts and markets are the sites for projects in which students have addressed gaps they have identified in Brixton’s cultural and social life. Following this year’s exploration of connections between the systems and processes of making and the generation of interior space, an interest in making and learning spaces has emerged, with projects for film, CGI animation, architecture, photography, dance, fashion and stage craft schools, and spaces for architectural ceramicists, photographers, mural

painters, textile printers, sound artists, craft makers and analogue filmmakers, many of which integrate learning spaces into them. A scattering of new institutions is proposed: the Market Traders’ Centre, a Colour Institution, a centre for the study of Water, and another for the study of Sound. Existing cultural hotspots in Brixton are augmented by ideas for a post-gig musicians’ club and a belly dancing performance space. Social needs for all ages are addressed in projects for an urban growing space, a centre for homeless young people, a cultural space for the fit elderly, and a youth centre. Other projects bring new uses into existing: a photography magazine joining with Photofusion, and an arts plaza being added to the recreation centre. The year’s projects form a valuable register of students’ readings of a London town centre, which are understood through their ideas for interior spaces which respond to contemporary conditions.

Guest Critics: Camelia Ali Zaki Ewiss, Luca Beckerson, Helen Brewer, Matthew Grand, Monica Langfeldt, Malcolm McGregor, Gary Nash, Adriana Vela Alonso, Maria Veltcheva 18

Dajana Skoric: Market Traders Building

BA (Hons) Interior Architecture | Third Year

Katherine du Toit Mathew: The Presence of Water

Elaine Hardy: Analogue Film Space

BA (Hons) Interior Architecture | Third Year

Esma Al Sibai: Cast Space

Ziad Abizeid: Display Staircase

Our tradition of embracing diverse studio practice continued this year: Giles Smith and Anthony Engi-Meacock began a new Studio Nine; Elantha Evans took on Mike Rose’s role in Studio Five, with Mike moving to the First Year Studio. John Edwards, Maria Kramer, Alicia Pivaro and Fiona Zisch also joined the First Year team. We also said some good-byes: to François Girardin, who left for Norfolk; Ben and Pete who moved across to the MArch; and Filip Visnjic to the MA. This year all the degree studios took as their focus our home city of London, and asked how might the very rapid changes in the city’s culture, economy and society be more meaningfully and creatively embodied? London has being described as a ‘mega’ city, engaged more closely with global economic issues than those presenting locally, with increasing population densities and productivity growth accompanied by large increases in inequality of income and opportunity. Infrastructure projects progress with self-righteous will but the housing, cultural and social stresses build in unresolved mountains. Studio Nine has been examining the impact of HS2 on Camden’s communities and housing, exploring the radical and the practical responses that can flow in its wake. The Thames provoked two responses to change. Studio One speculated on the need for new systems as a planned response to climate change: Lots Ait as a model scenario for an uncertain future. The potential for reconnecting with forgotten fragments became the focus for Studio Five: an East End 24

reconnected by the Thames and through community enterprise. Whilst densification of the suburbs supplies an ever-increasing flow of renters to the city, what do the suburbs get supplied? Studio Two has been asking, how exactly does Walthamstow become Awesomestow, what are its traits and how can these ground its future identity? In a London growing of wealth and inequality, the impact of capital on development is evident but what does it do for the common ground? Studio Three reworked the corner of a Royal Park: a socially embracing fragment in the wealthiest corner of the city. If we measure the richness of the city in its broadest terms, how does it fare – and how could it fare better? Studio Eight confronted these issues by exploring the potential for leveraging public good from the flow of speculative capital. Studio Seven examined the impact of art practice in galvanising radical new forms of living. Meanwhile Studio Four developed new models for housing emerging from manufacturing technologies and the need for less to do more with fewer resources. At the end of this speculation, what can we see? A London that needs creativity to critically rethink, rearticulate and resolve its challenges. Without these, the city’s expansion is going nowhere. Thank you to all Cultural Context, Technical Studies and Design Studio Tutors, Workshop Technicians and Students. Julian Williams Course Leader

BA (Hons) ARCHITECTURE RIBA Part I

BA (Hons) Architecture | First Year

GROUP A: Fiona Zisch & Virginia Rammou

GROUP B: Stefania Boccaletti & Michael Rose

Groups A & B’s collaborative Office 2.0 / Silicon Alley brief explored innovative designs for a new type of work environment, in which the design of the working space is based on social interaction and the enhancement of the creative process, rather than on the traditional post-industrial configuration based on staff productivity.

Students were then given a plot on a site located in “London Tech City” in Shoreditch, which is the third-largest tech startup cluster in the world.

Zahraa Al-Subeiti, Karolina Barwan, Patricia-Cynthia Bob, Menut E Da Costa, Stefan Dean, Alberto De Castro Moreno, Daniel Gloames, Emily Hadley, Susmita Hamid, Carla Hora, Zhana Ivanova, Sharna Johnson, Anton Köhler, Adam Kramer, Eleanor Lucock, Jasmine Montina, Sofia Nascimento, Aysu Ozdemir, Alexander Shackleton, Remigijus Sliakonis, Anissa Souza, Chris Stroudley, Bisher Tabbaa, Martin Vasilev

Jadene Aguilar, Sheikh Ahmed, Ali Bash-Imam, O’Hara Bawuah, Veronica Cappelli, Claudia Del Olmo Russo, Oskar Dobosz, Shariar Doha, Daniel Gee, Simon Glemser, Katie Haigh, Ola Hjelen, Mariam Madi, Wilza Mendes, Julian Morisset, Jade Newman, Kyu Pai, Bulat Safaev, Sandra Sidarous, Yee Tai, Asa Vasallo, Aneta Walerzak, Shirin Zhaparalieva

The research on the high-tech company combined with the analysis of the site gave students the opportunity to critically examine typological, material parameters in relation to psychological, immaterial factors which then converged in their design work.

Students were assigned a type of creative high-tech startup and asked to research and analyse existing high-tech companies to compile key information such as programme, professional output, Thank you to all the visiting critics: Yota Adilenidou, Isabell Fogden, Thomas public interface, equipment and, ultimately, spatial qualities and Glover,Tanya Kramer, Johnny Lui, Panos Mavros, Anthony Engi Meacock, Dragan Pavlovic, Luc Sanciaume, Giles Smith, James Smith, Henry Sykes, Evelyn Zisch requirements.

GROUP C: John Zhang & Natalie Newey

GROUP D: David Scott & Richard Watson

A New Annex for the John Soane’s Museum This year’s studio confronts London’s architectural past, and questions how these can inspire new forms of architecture that bridges the past and the present, and engender new engagements between previously disparate user groups.

Creative Agency

To this end the students developed designs for a small hybrid building, to act as a learning annex for the Sir John Soane’s Museum, as well accommodating a secondary client developed from their own research, all to be located in London’s Lincoln’s Inn Fields. The students were formally engaged with the Museum through a series of lectures, discussions and site visits.

While they investigated the architectural conditions that might encourage creativity, students were lead to interrogate the nature of creativity itself, and the ways in which it might exist in social practices as much as individual intuitions. This allowed them to reflect simultaneously on how creativity might be fostered in their own work.

From their analysis of the local area, and the profiling of their secondary clients, the students evolved their specific briefs and concepts, which were then elaborated and represented through diagrams, photographs, technical drawings, collages, 3D models, and physical models. The proposals were then shared with the Museum’s Head of Education at a Pecha Kucha Session..

The students were offered one of two sites beside the canal in the rapidly evolving area behind King’s Cross. They interviewed and profiled their own clients, and were encouraged to develop their own specific briefs, and so generate original concepts for their designs.

Justine Aguilar, Ziadoon Azeez, Lemar Darien-Campbell, Ana Diaconu, Simrath Diocee, Alison Edwards, Christina Gelagotellis, Kera Gregory, Magdalena Harmacinska, Harry Hughes, Matthew Jackson, Sooyeon Jeong, Paraskevi Katsiani, Darina Keane, Enioreoluwa Majekodunmi, Esther Medina Llamas, Borislav Merdzhanov, Lina Noueiri, Ksenija Pejovic, Heenah Pokun, Abdul Siddique, Lukas Virketis, Elina Zampetakis

Hamza Abbas, Sarah Ahmad, Deep Balloo, Josh Corden, Konstantina Diamantogianni, Ioana Dumitrasc, Lucy Fincham, Kiril Georgiev, Jamie Goring, Emma Hartley, Amad Muhammad Hussain, Maciej Jungerman, Humaira Keshtmand, Myung Lee, Ani Markova, Hayden Mitchell, Nardeen Mohammed Aziz, Zoe Okungbowa, Esi Plaku, Tommaso Scarlato, Amirah Suhaimy, Fiona Tmava, Khoa Vo, Lucy Wellman, Wanchi Wong, Rukhsar Zahid

Our studio continued its interest in making, this year exploring the making and crafting of ideas in professional contexts. Using the theme of ‘Creative Agency’, we asked students to design a small building for a group of professionals working in a creative industry of their choice.

GROUP E: Alicia Pivaro & Julian Williams

GROUP F: Maria Kramer & John Edwards

For Sheds for (Soho) Squares, students reinterpreted the elements of a conventional garden shed to house a traditional English pub game. After researching Soho, each student chose a particular local community or group to act as client, using them to inform the functions, programme and design of the shed. Clients included the homeless, transvestites, Chinese chefs, jazz fans and couriers.

London Transformation / A Design For London The unit has

Aftab Ahmed, Mustafa Akkaya, Stephania Barbera, Jessime Bath, George Cosbuc, Elisavet Dimitrou, Hiep Duong, Allaster Grant, Habib Khuram, Ronahi Kaplan, Natalie Klak, Matthew Lindsay, Christopher McManigan, Anis Mohamad Khari, Zuzanna Osiecka, Lara Saad, Mohammud Salamut, Urangua Sodnomjamts, Xiyang Su, Fatema Sulemanji, Karol Wozniak, Yagmar Yurtbulmus, Anastasia Zabarsky

In Writer’s Block, students designed a small building to provide a new face for the Highgate Literary and Scientific Society (HLSI), at present housed in a traditional building nearby. Augmenting the existing facilities of the HLSI, the project included indoor and outdoor community spaces for a range of literary events and a space for a writer in residence.

First Year Architecture Students: Games Shed Test

Irina Bodrova, Jeffrey Chan, Gheorghe Cristescu, George Davies, Denitza Dimitrova, Dominic Din, Bryan Espinoza Ortiz, Ilar Farrokhzad, Devon Forbes, Xhensila Gjyla, Danya Goudarzirad, Abdulrahman Hassan, Mohammed Kashem, Anisha Kurreembukus, Hamed Mahdianzad, Silviu Motac, Asile Mussa, Deren Mustafa, Christos Sevastides, Dina Skripnicenko, Palm Tengtrirat, Dina Wahby, Lee Wells, Xingu Zhou

focused on designing a building for London that will celebrate a community-centred creative activity, trade or profession. Like all fine London buildings, each proposal tells a story. Taking the Caledonian Road as a ‘typical’ piece of London, the unit has been examining what it is that they feel makes London unique, and applying their research to the design of a building on one of four sites along the Caledonian Road. Beginning with a postcard study of ‘Londonness’ – instinctive and intuitive – the students developed personal and urban analyses of the area, interviewing locals and undertaking desktop urban research before committing to a creative discipline and the story of their project. Through model-making, sketching, technical drawing and collage these stories have evolved into site-specific proposals that are both for the area and of the area, and steeped in the rich local history of creative exchange.

BA (Hons) Architecture | First Year GROUP A

(left) Alexander Hugo Shackleton: Tech Startup - 3D Printing Company; (right) Jasmine Montina: Tech Startup - Advertising Agency

Anton Kรถhler: Tech Startup - Advertising Agency

BA (Hons) Architecture | First Year GROUP B

(top) Sheikh Ahmed: Office for a Video Game Design Company; (bottom) Daniel Gee: Office for an Advertising Agency

(top) Ola Hjelen: Office for an Advertising Company; (bottom) Ali Bash Imam: Office for a Video Game Design Company

BA (Hons) Architecture | First Year GROUP C

(top left) Matt Jackson: Reading Room; (bottom left) Ksenija Pejovic: Mooting Chamber; (right) Lina Noueiri: Birds Sanctuary

Heenah Pokun: A Loversâ&#x20AC;&#x2122; Archive

BA (Hons) Architecture | First Year GROUP D

( far left) Myungin Lee; (centre) Kiril Georgiev; (top right) Tommaso Scarlato; (bottom right) Ani Markova

BA (Hons) Architecture | First Year GROUP E

(top) Natalie Klak: BE FAB Shed; (bottom) Christopher McManigan: Through the Looking Glass

(top) George Cosbuc: Studies for Writers Block; (bottom) Mustafa Guray Akkaya: Neutral Contemplation in Highgate

BA (Hons) Architecture | First Year GROUP F

(left) Abdulrahman Hassan: Interior Perspective view of Cally 360 Gallery; (right) Na Pat Tengtrirat: Absurdity in the Everyday, Banality Disrupted

(top) George Davies: Painting with Light, section through photographerâ&#x20AC;&#x2122;s studio; (bottom) Irina Bodrova: The Sculpture Garden

BA (Hons) Architecture | Design Studio One

Mike Guy & John O’Shea Yr2: Vanessa Assaf, Ivan Giffi (Sem. 2), Man Ip, Nachida Kara, Mohsin Khan, Sara Kosanovic, Patryk Kubica, Christian Muller, Oleander Omega, Robert Rusu, Kubra Taskiran, Emmanuel Tetterfio, Han Yang, Gavin Yau, Zhai Yun

Yr3: Yasmin Bakali, Dinemis Balkaroglu, Alex Beloosov, Anil Colak, Benjamin Evans, Robert Heathcote, Tahin Khan, Mingyang Li, Theodora Malekou, Callum Mason, Sadman Shakir (Sem. 2), Anastassis Troullides, Fadime Yasar, Jakub Zgoda

DS01 Looking always for an architectural opportunity and ways to understand the complex evolution of our home city, this year DS01 examined Walthamstow’s special, but struggling, linear market.

Semester 1: Fika-Ville

Semester 2: SynchroniCity

Factoring in Oliver Burkeman’s observations on ‘collective restoration’ and the ‘social reorganisation of time’, the area’s imminent Mini-Holland and Cycle Superhighway future and growing dissatisfaction with our increasingly virtual lifestyles, projects were developed to culture real face-to-face networking between start-up hipsters, street-market entrepreneurs and market-lovers to share talents and transform this earliest commuter suburb into a remarkable destination.

After presentations in Council chambers, some light espionage and much measuring-up, obsolescent host structures were opened-up using construction dialects expressive of innovation and responsiveness to further change. A multi-storey car park, a tired shopping mall, a former bingo hall and a heritage copper mill were architecturally infiltrated and cross-programmed to promote and celebrate local diversity and sociability.

Guest Critics: Alessandro Ayuso, Elantha Evans, Georgia Follet, Sophie Fuller, Barti Garibaldo, Constance Lau, Natalie Newey, Richard Northcroft, Will McLean, Ruth Taylor, Ellie Ward, 40

(top left) Ben Evans: To the Dogs?; (centre left) Jason Zhai: Kinder-Eldergarten; (bottom left) Callum Mason: Joiner’s Arms; (right) Callum Mason: Joinery Shop

BA (Hons) Architecture | Design Studio One

(top) Ben Evans: Action Faรงade?; (bottom) Ben Evans: New Crucible

(top) Ben Evans: Heritage Listing; (bottom) Ben Evans: Start-up Exposure

BA (Hons) Architecture | Design Studio One

(top) Gavin Yau: FikaVille; (bottom) Gavin Yau: Mall Foyer

(top) Gavin Yau: Roof Plan; (bottom) Gavin Yau: Mall Section

BA (Hons) Architecture | Design Studio Two

Natalie Newey & Richard Watson Yr2: Edward Ahn, Milan Babic, Michelle Barratt, Juan Bedoya, Sneha Baptista, Vicky Carrillo Mullo, Nic Chapman, Mahmoud Chehab, Anastasiia Enshina, Giulia Da San Martino, Carole Desfrancois, Rachel Eastman, Felix Giorgetti, Sofie Hald, Gemma Hale, Clovis Keuni, Tahmid Miah, Yevgeniy Oleynick, Aikaterini Petsal, Natalie Roberts, Nicolas Salas Leon, Caroline Wisby

Yr3: Maialen Calleja, Olimpia Grassi, Karina Pitis

DS02: Adapting London The year began by scrutinising London’s infrastructure as a way of beginning to understand the complexities of our city and its systems. Each student became an expert on their chosen infrastructure system, exploring its history, present arrangement and future issues and plans. This research was set against the challenges of population growth, climate change, natural disaster and economic instability which will test London’s infrastructure systems to their limit in the coming years. The students were asked to look at the potential scenarios that will arise and speculate on how we might address these crises and adapt to these new challenges. The site for our speculations is a series of small islands in the Thames between Brentford and Kew. Brentford Ait is uninhabited and inaccessible, except by boat. Lot’s Ait is the site of a commercial boatyard which is an important part of London’s boating history and continues to contribute to the life of the river. The

site is also interesting because of its historic role as a boundary between the picturesque Kew Gardens and the once-industrial landscape of Brentford on the North. The Kew Bridge Waterworks, built in 1838 to address the issue of polluted water supplies, (now a museum) is nearby. Parallels could be drawn between this Victorian project and the DS02 brief for this year. Student proposals are about Adaption in a changing context. Each project began with a Master Plan for the islands, often including elements which deploy up and down the river in times of crisis. The students were encouraged to include a community element in their proposal, providing a social function supporting the local residents and their everyday needs when the crisis facilities were not in use.

Guest Critics: Sophia Adamou (Adamou Landscape Architecture), Clare Carter, Laura Dansone, Molly De Courcy Wheeler, Elantha Evans, Constance Lau, Will McLean, Ralph Parker (Honey Architecture), Emma Perkin (Emil Eve Architects), Ozan Toksoz-Blauel, Mina Shafik, Fiona Zisch 46

Maialen Calleja: The Floating Greenhouse

BA (Hons) Architecture | Design Studio Two

Karina Pitis: Brentford Ait Floating Village

(top) Gulia Da San Martino: Life Capsules; (bottom) Nic Chapman: Growing Clean Air

BA (Hons) Architecture | Design Studio Two

(top) Michelle Barratt: Symbiosis; (bottom) Sofie Hald: Save Your Breath

(top) Yev Oleywick: Purity Pools; (bottom) Milan Babic: After The Storm

BA (Hons) Architecture | Design Studio Three

Constance Lau & Claire Harper Yr2: Farid Abdulla, Rebecca Billi, Pirawatt Changlek, Rebecca Cooper, Dagmara Dyner, Safia Gay, Ioana Gherghel, Martynas Kasiulevicius, Omar Manshi, Marta Micheletti, Matas Olendra, Rishi Shah, Joe Stannard, Ian Swift, Marcin Wozniak

Yr3: Amir El Harbe, Kyriakos Eleftheriadis, Jordan Gibbs, Sepideh Heydarzadeh, Katarzyna Lengiewicz, Anna Lewandowska, Iga Martynow, Kamala Pun, Marcus Thompson-Smith, Anastassia Zamaraeva

DS03: The Invisible Icon, The Urban Observatory and Auditorium Essentially the Pavilion was an ‘exhibit about exhibition’ which ‘exhibited a new way of looking’.1

This year’s design narrative and notion of multiple interpretations starts with Looking for Mies’ Barcelona Pavilion. The first semester is spent developing a narrative alongside a design language and methodology which are then tested on a small proposal, a pavilion set in Kensington Gardens. Referencing its history from the original 1929 building to the 1986 reconstruction, semester one’s narrative concerning the Barcelona Pavilion focuses on issues of temporality, site-specificity, context, identity and programme. These ideas are further reflected in the site of Kensington Gardens which is acknowledged for the Serpentine Pavilions. More importantly, the design proposal for another reading of the Barcelona Pavilion places itself within the argument which supports the notion that there are several existing versions of this building.

Hence the narrative for this architectural proposal encapsulates many concepts and will serve as a catalyst for the next semester. Semester two translates the earlier ideas and explorations into the different views, viewpoints, as well as manners of interpreting and presenting a work of architecture into a proposal for an Urban Observatory and Auditorium. This building will mark the boundary between Kensington Gardens and the urban condition south of Kensington Road. Significantly, the site specific and permanent qualities of this design proposal can be read as a counterbalance to semester’s one arguments. Beatriz Colomina, ‘Double Exposure, Alteration to a Suburban House (1978)’ in Dan Graham, Pelzer, Francis and Colomina (London: Phaidon Press Ltd, 2001) p. 88

Guest Critics: Special thanks to Larisa Bulibasa, Clare Carter, Elantha Evans, Will McLean, Pete Silver, Christian Newton, Sotirios Varsamis, and of course Jed Dutton 52

Anastassia Zamaraeva: House of Narratives - The Parasitic Spatial Relationship Between Fashion and Journalism

BA (Hons) Architecture | Design Studio Three

Kyriakos Eleftheriadis: The Vygotsky Centre of Evolutionary Anthropology

Katarzyna Lengiewicz: Kensington Pleasure Garden - An Urban Rainforest

BA (Hons) Architecture | Design Studio Three

(top) Iga Martynow: The City as a Backdrop; (bottom) Iga Martynow: The Vertical Stage

Iga Martynow: Theatre of Transparencies - Performance and Rehabilitation

BA (Hons) Architecture | Design Studio Four

Tom Coward & Elly Ward Yr2: Mariam Abdallah, Andros Antoniades, Miles Giraldez, Hoi Laam Leung, Tim-Ole Michel, Sahar-Fatema Mohamedali, Javier Navarro, Issac Nouri, Magnus Pahlberg, Alexander Pearson, Andrius Ribikauskas, Iason Rizos, Camille Rousseau

Yr3: Faddah Alaskar, Nora Behova, Ioannis Berdelis, Darren Buttar, Stefano Casati, Nicole Cork, Christopher Leung, Thu Nguyen, Karolina Pupelyte, Muhammad Shakeel, Marzena Szwed, Zivile Volbikaite, Hui Wen

DS04: The Empathetic Dwelling The year consisted of a broad cultural investigation into who we are and how we live and work. An introductory project involved the development of a self determined timber pavilion and ended with two distinct conclusions: group research into the history and potential of various forms of timber construction; and further detailed adaption of the pavilions represented within and in response to a personal and aspirational location and context. The second semester major project expanded the scale of intentions, within the brief of London as an expanding city, to consider the design of housing types for the development of an ‘empathetic dwelling’. The dwelling – principally constructed in timber – with an emphasis on the trends of co-housing and live/ work, is set within a context of limited space and a reducing role of state welfare.

The studio focus was to gain an understanding of the development of the city through the establishment and repetition of residential building types, and their contribution to the social structure of the city as a whole. Through type we have tested various building forms and arrangements, and those types have been aligned with specific zones and parts of the city. By researching particular and contemporary household groupings and considering alternate modes of communal living, we hoped to explore some of the complexity of human life and propose spatial arrangements specifically versatile enough to offer alternatives to cookie-cutter development proffered lifestyles. The studio encouraged design development through the production of large format images and digital or physical models to develop and communicate individual architectural expression.

Guest Critics: Pete Allen (Platform 5), Gem Barton, Jaime Bishop (Fleet Architects), Eddie Blake (Studio Weave), Clare Carter, Anthony Engi Meacock (Assemble), François Girardin, Kevin Haley (Aberrant Architecture), Charles Holland (Ordinary Architecture), David Knight (DK-CM), Maria Lisogorskaya (Assemble), Hugh McEwen (Studio S&M), Catrina Stewart (Studio S&M), Jane Tankard, Filip Visnjic 58

(top) Magnus Pahlberg: Summer-Winter Pavilion; (bottom) Nicole Cork: Muddy Ballet Shoes

BA (Hons) Architecture | Design Studio Four

Marzena Szwed: City is House and House is City

Darren Buttar: A Lifetime Home

BA (Hons) Architecture | Design Studio Four

Zivile Volbikaite: Towering Types

BA (Hons) Architecture | Design Studio Five

Elantha Evans & Alison McLellan Yr3: Zuhra Daud, Dominika Fiodorow, Ryan Hahn, Yagmur Karaca, Fatemah Mohammadi Araghi, Farah Mohd Azhari, Daniel Phillips, Thomas Roots, Mazamir Seyedeh Booshehri, Vasiliki Theocharous, Huzaifah Wazifdar, Zehra Yumsak

Yr2: Aylem Boyraz, Buyi Femi-Balogun, Danyal Hayat, Andreea Istratescu, Tommy Jiho Kim, Florida Koci, Patrycja Kurasinska, Joanna Leung, Sana Mir, Mohammed Rash Ruslan, Victoria Stan, Maciej Tomaszewski, Saori Uno, Magda Welcz, Maggie Wu

DS05: Wandering Wapping Wondering London: the Expanding City / Does expansion mean outwards?

Wapping is a territory with great potential to be expanded culturally and historically. Dialogues between past and present, people and places, industry and social change are explored; possible urban influence and human-scale experience of space enjoyed. Architectural propositions respond intelligently to the historical, cultural and social context of the area, developed through careful research and individual student reinvention of the briefs. In considering Wapping’s historical position as an economic trade centre, a local industrial hub and key in England’s defence, we asked: what is the possibility now for a new industrious society, how can it be manifested within architectural proposals, and how can Wapping’s rich microcosm of history and culture be celebrated? The sites and the subsequent projects interlock with a simple urban strategy which assumes a new TFL River Boat Pier and an accepted need for the re-invigoration of the existing River Walk and Wapping High Street. Clarity in social agenda and programmatic function is seen as key in connecting history and memory of place with existing built fabric and social needs. How can one

draw from the past and look to the future? Who is the building for and why is it important? What can be understood from individual user needs and collective interactions? Is the building a machine for a process or a house for activity? The two main design projects this year were interwoven with shorter, sharpening exercises focussing on particular observations and representations relating to thresholds and dialogues between people and places. Semester 1: A Coaching Inn and its Outposts Semester 2: Tinker, Tailor, Soldier, Sailor... Dialogues 1: O n your doorstep? A real place, represented Dialogues 2: A nywhere, somewhere? An imagined place, suggested Dialogues Revisited: #ds05londonvenicedialogues Dialogues Reconsidered: Reading spaces, drawing on detail

Guest Critics: Clare Carter, Phaedra Corrigan, John Griffiths. David Hawkins, John Ng, Anthony Powis, Giles Smith, Jane Tankard, Emma Thomas 64

(top) Mazamir Seyedeh Booshehri: Déjà Vu; (bottom) Daniel Phillips: Expanding Wapping

BA (Hons) Architecture | Design Studio Five

Yagmur Karaca (top): Costume Workshop & Short Film-Inn; (centre l-r): Upstairs Downstairs; Tailoring & Sewing; Foyer; (bottom) Daniel Phillips: Glass Phoenix & Paint-Inn

(top left) Patrycja Kurasinska: The Luthiers of Wapping ; (centre left) Tom Roots: Wapping Ropery and Wine Wharf; (right) Joanna Leung: Blow-Out

BA (Hons) Architecture | Design Studio Five

(top, bottom left & bottom right) Saori Uno: Cook-Inn

(top) Joanna Leung, Dusk at the Brew-Inn; (bottom l-r) Joanna Leung: Brew-Inn spatial exploration

BA (Hons) Architecture | Design Studio Six

Clare Carter & Richa Mukhia Yr2: Andrea Cappiello, Alexander Farmer, Andrea Forte, Dalia Abdel Gadir, Jamie Hedgecock, Rim Kalsoum, Yasemin Kose, Charlie McLaughlin, Shaden Meer, Giorgio Martin Miccoli, Pedro Vieira, Krista Zvirgzda-Zvirgzdr

Yr3: Daniel Baldeo, Shanae Boisson, Marco Catena, Man Wah Cheung, Ekaterina Dziadkovskaia, Michael Guldbog, Abiel Hagos, Yasmin Lokat, Katy Scotter, Laura Vickers-Ruiz, Thomas Wright

DS06: Rainham Marshes In the expanding city, the edgeland is a place in-between, a left over, forgotten place, a place of overflow from the density of the urban world. Journeying to the marshlands at Rainham, we envisioned the edgeland through the eyes of a traveller, enriching our understanding of an unknown terrain, this extreme environment.

Finding the way Rainham Marshes has a raw beauty; a sea of green reeds and open sky with lines of pylons and electricity cables stretched across the landscape. Being a former army firing range, Rainham Marshes has retained its medieval landscape due to its off-limits nature. The A13 cuts across the lush marshes, the road raised high on concrete pillars. A unique post-industrial landscape; landfill and silt lagoons cheek by jowl with bulrushes and water voles. A topography of marshland surrounded by industry, some redundant.

Unfolding the map enabled us to discover this place in-between and make palpable the hidden qualities of this fragile wilderness. We designed a bolt-hole, special place for one to stay, a storehouse, an archive, a treasury…

Portal to the marshes Visiting the countryside by car we commonly stop at the Service Station to refuel; food and petrol and then pass on to the chosen destination. Factories loom large on the horizon of the marshes; a cluster of impenetrable fortresses. We re-invented the idea of Service Station or Factory as a destination itself and it became a portal to the place beyond, connecting us to the hinterland of Rainham. An entry point for the traveller to the edgelands, the portal acted as an advertisement for the Marshes, it was seen as a gentle invitation to visit this left over, forgotten place.

Guest Critics: Alexandra Adone (PRP), Stacey Barry, Adam Bell (Foster and Partners), Kenzaf Chung, Raluca Ciorbaru, Bob Flindall, Richard Harvey (PRP), Iwan Jones (Foster and Partners), Gill Lambert (AOC), Julian Lewis (East), Alexia Michael, Will McLean, Elias Niazi (Aukett Swanke), Nicholas Papas (Papa Architects), Fergus Seccombe, Elenda Timaj, Djordje Stupar (top) Ekaterina Dziadkovskaia: Landfillia – Perspective; (bottom) Ekaterina Dziadkovskaia: Landfillia – Section 70

BA (Hons) Architecture | Design Studio Six

(top) Ekaterina Dziadkovskaia: The Repository of the Human Condition; (bottom) Yasmin Lokat: Rainham Water House

Ekaterina Dziadkovskaia: Landfillia â&#x20AC;&#x201C; Phase 1

BA (Hons) Architecture | Design Studio Six

Abiel Hagos: Recording the Liquid Edge

Dolly Cheung: Collage of Archive Portal

BA (Hons) Architecture | Design Studio Seven

Jane Tankard & Julian Williams Yr2: Rahideh Afsar, Carrick Blore, Janice Chow, Denisa Groza, Nuriyah Malik, Ali Mohammed, Eira Mooney, Lara Oduguwa, Sahar Pathan, Maria Ribalaygua, Ali Rukmul, Elliot Roworth, Gabriella Spiridon, Conor Wilson

Yr3: Gina Andreou, Ben Brakspear, Ricky Chandi, Nouha Hansen, Panagiota Kaloutsikou, Kawther Mohsen, Edoardo Pascale, Matteo Rossetti, Amel Said, Luc Sanciaume, Alex Shaw, Michaela Vasileva

DS07: Brick Lane: Experimental Alchemy for the 21st Century The seemingly unstoppable march of gentrification across London’s East End has manifested itself in Shoreditch in the construction of two projects: The Avant-garde tower and The Fusion. Both located adjacent to Brick Lane, the projects could be described as the fulfilment of Margaret Thatcher’s cynical, anti-community, late capitalist commodification of the residential. Marketed as gated, secure properties on the ‘doorstep of the City’s financial powerhouse’ and just ‘15 minutes to Harrods’ and costing £13,000.00 per square metre, these properties turn their back on the creative, diverse low-income communities that have evolved in the neighbourhood, creating ‘portfolio potential’ for non-UK resident investors with vacuous sterile playgrounds for the rich in their wake. Challenging this financial opportunism, DS07 has evolved a response that considers the needs and desires of the existing local communities.

which has addressed issues of community and society. With Artangel as ‘client’, this piece of cultural commentary was then redesigned using in-depth analyses of the neighbourhood and uncovered urban stories to contextualise and redefine the work as an intervention on the site of The Fusion project. Identifying a potential ‘legacy’ from this event, the studio went on to evolve a series of propositions that incorporated communal/community focused activities and housing. Propositions for physical responses that challenge gentrification and embrace the potential for ‘alchemic’ investigations and experimentation, the studio attempted to make ‘invisible’ communities visible. Recognising the potential and opportunities inherent in artists’ work being integrated with daily life, the projects all included a space for the artist whose means of production was the focus of the interventions proposed in Semester 1.

In semester 1 students worked in pairs, examining in detail the ‘choreography’ of a seminal art work

Guest Critics: Tom Grove, Tristan Hartley, Christos Kakouros (LaMa), Lily Kudic, Kris Limpert (Sheppard Robson), Lucy O’Reilly, Mark Rowe (Penoyre + Prasad), Emiliano Zavala (Sheppard Robson) 76

Ben Brakspear: Algicide

BA (Hons) Architecture | Design Studio Seven

(top) Luc Sanciaume: Mike Kellyâ&#x20AC;&#x2122;s Dream Machine; (bottom) Denisa Groza: The Six Stories Tower Brewery

(top) Matteo-Rossetti: Cleanse City Elevation; (bottom) Alexander Shaw: Memory Museum

BA (Hons) Architecture | Design Studio Seven

(left) Gina Andreou: Tiny House Big Bridge; (right) Nouha Hansen: Bangladeshi Wedding Hotel

Carrick Blore: Escape From Capitalism

BA (Hons) Architecture | Design Studio Eight

Anthony Engi Meacock & Giles Smith Yr2: Giacomo Brusa, Zeid Bushnaq, Denise Carcangiu, Flavia Cerasi, Amrit Flora, Maria Garvey, Ateeq Hayat, Idriss Idriss, Zornitsa Kovacheva, Ugne Krymcenaite, Eline Putne, William Rowe, Jaimina Shah, Negar Shahbodaghloo

Yr3: Sarah Abuzeid, Coyan Cardenas, Isaac Cherrie, Kimbo Fidelo Sito, Hussein Houta, Maksimilijan Luzaic, Simon Spafford, Shanice Tang-Wah, Hari Tank, Harriet Taylor, Fiona Thompson,

DS08: Capital: Follow The Money Cities are simply dense accumulations of capital that also produce more power, or more of themselves, as they accumulate value. Sam Jacob 1

Increasingly London is becoming a grotesque physical manifestation of our contemporary financial system. In the aftermath of the 2007 financial crash, it has become a harbour for world capital, its architecture increasingly a secure commodity in an unstable global market. Within the city we have chosen to focus our attention on the Isle of Dogs, where the front line of development economics can be seen erupting from the Thatcherite playground of Canary Wharf, unchecked, down the Millwall dock. In this context we set out this year to ‘follow the money’ to explore the link between architecture and capital, and ask: who owns the city and who pays for it? And how can we, as designers, interact with or disrupt this process?

Marketing Suite In Semester 1 we focused on a ‘Marketing Suite’: a critical fragment of a financially-focused development. These explored how architecture can be used to sell ideas, as both a utopian vision of a radical future and a pragmatic reaction to developmental realities.

The Pay-Off In Semester 2 we learnt from the tactics of ‘planninggain’, Section 106 agreements and Community Infrastructure Levy, in order to propose a narrative for a public-facing component of the development. Through this Faustian pact we sought to achieve buildings built for the civic good of the city, but which retained a critical connection back to their financial origins. 1

S am Jacob, ‘Money: Time: Space’ in Real Estates: Life without Debt Edited by Fulcrum [Jack Self & Shumi Bose] (London: Bedford Press, 2014)

Critics: Zoe Berman (Cass Projects Office), Stefania Boccaletti, Roberto Bottazzi, Ben Burley (Tim Ronalds Architects), Freya Cobbin (The Richard Feilden Foundation), Joseph Deane, Jay Gort (Gort Scott), Mike Guy, Jane Hall (Assemble), Phineas Harper, Eleanor Hedley (Feilden Fowles), Chris Kennedy (Kennedy Woods), David Knight (DK-CM), Chee Kit Lai (Mobile Studio), Constance Lau, Mathew Leung (Assemble), Maria Lisogorskaya (Assemble), Thandi Loewenson, Daniel Marmot (Henley Halebrown Rorrison), Natalie Newey, Jack Self, Tom Surman (Surman Weston), Paloma Strelitz (Assemble), Michael Tuck (Feilden Fowles), Ronan Watts (5th Studio), Camilla Wilkinson, Adam Willis (Assemble) Guests: Steven Gruneberg, James Wickham (Gerald Eve), Sonny Malhotra 82

Coyan Cardenas: Building for Dwelling

BA (Hons) Architecture | Design Studio Eight

(top) Simon Spafford: Genesis; (bottom) Isaac Cherrie: Robin Hood

(top) Hussein Houta: The Aquapone; (bottom left & right) Fiona Thompson: Art Bank

BA (Hons) Architecture | Design Studio Eight

(top) Hari Tank: The Aspirinauts Institute of Energy; (bottom) Kimbo Fidelo Sito: Festival Square

William Rowe: LEAFA Studios

BA (Hons) Architecture | Design Studio Nine

Camilla Wilkinson, Eric Guibert & Anthony Powis Yr2: Abdulla Al Mannai, Daniel Amartey, Laura Antoni, Lorenzo Bellacci, Daniel Buja, Hanna Furey, Esra Gonen, Jemma Mapp, Ollie James, Ajay Narinderpal Larr, Sofia Leijonberg, Mervin Loh Kong Liang, Garda Massey, Laylac Shahed, Philip Springall, Georgia Semple, Viktorija Skromovaite, Felix Thiodet, Maria Yli-Sippola

Yr3: Sahani Mututhanthrige Fernando, Faisal Iga, Hon Yin Johnathan Ngai, Sadaf Setoudeh, Zakaria Tehami, Robert Wong

DS09: ‘ Towards the Human City’:1 research to strategy, activity to programme on the Regents Park Estate In 1987 Frei Otto was commissioned to design the experimental ecohousing project ‘Der Baumhaus’ for the Berlin International Housing Exhibition. Viewing the film of Otto’s project ‘Der Traum vom Baumhaus’ (a form of post occupancy evaluation) DS09 began to evaluate the project’s apparent successes and failures. Through their research and proposals in relation to the Year Brief, our students were asked: what constitutes urban domestic life, space standards, home ownership, community living, self-management, difference, behaviour, activity, livelihoods, ecology, public space, private space and all the spaces in between? As an outward facing studio, we channelled the subject of our discussion into a real-time scenario playing out in Euston and in particular the Regents Park Estate. This area is currently threatened by environmental and infrastructural challenges from the construction of the High Speed Two Rail Link. For over 200 social housing residents it will result in the loss of their homes. Semester 1 Brief: Propose a positive strategy for a local community. This strategy must be based on

research and observation of the locale with an idea of mitigating effects of the challenges facing ‘forgotten’ communities in Euston. Semester 2 Brief: Design a 12-unit co-housing project for local residents as part of Camden’s rehousing scheme. Which common activities will drive the programme? As well as making their own observations of the site, students had access to essential existing research documents: ‘Regeneration Aspirations for Euston: Local Perspectives on the High Speed Two Rail Link’ (MSc Social Development Practice Student Report, April 2014) and ‘Collective Imaginations for Contested Sites in Euston’ (Architecture Sans Frontières-UK, September 2014). Research documentation has been complimented by Design Reviews and supporting talks and events outlined in the list of thanks. With political challenges ahead, the requirement to think creatively, strategically, and equitably becomes urgent, as does the question for students of architecture – what constitutes the human city?

Special thanks to the following Critics, Lecturers and Practitioners for their time, generosity and expertise: Architecture Sans Frontières-UK for access to ‘Collective Imaginations for Contested Sites in Euston’ and all their invaluable open source resources; Beatrice de Carli (Programme Co-ordinator and Lecturer Urban Design, Sheffield University) for her contribution to the ‘Information and Idea Exchange’; Jennifer Cirne, Teaching Fellow on the MSc Building & Urban Design in Development, DPU, for her lecture ‘Housing (Alternatives) and Typologies’; Alex Frediani Lecturer and Co-Director of MSc Social Development Practice at the Development Planning Unit, The Bartlett, 88

1 Frei Otto interview Der Traum vom Bauhaus Beate Lendt 2011

UCL for initiating the ‘Idea and Information Exchange’; Practices Matthew Lloyd Architects, Mae, East and Tibbalds at Camden Council’s Architecture Workshop and Consultation. Liam Atkins, Lizzie Chen, Tom Coward, Alex Frediani, Laura Kidd (Head of Architecture, High Speed Two Rail), Liva Kreislere, Hwei Fan Liang, Natalie Newey, Marie Price, Kester Rattenbury, Simon Shillito, Clare Warnock (Matthew Lloyd Architects)

Garda Massey: Research to Strategy - ‘Dog Socialiser’ strategy for the 10,000 residents and 1000 dogs living on the Regents Park Estate

BA (Hons) Architecture | Design Studio Nine

Lorenzo Bellacci: Activity to Programme - Co-housing programme for older generation gardeners, Regents Park Estate

BA (Hons) Architecture | Design Studio Nine

Ajay Larr: Design to Construction Horticulture activistâ&#x20AC;&#x2122;s co-housing and communal garden for Regents Park Estate

BA (Hons) Architecture | Cultural Context

Alain Chiaradia, Willem de Bruijn, Claire Harper, Constance Lau, Mike Rose, Sarah Milne, Ben Stringer & John Walter

The BA cultural context programme prioritises architectural history in the first year, whilst the second year represents a shift to a more theoretical agenda. In their final year students devise their own research topics and questions and are tutored by a diverse group of cultural context lecturers. This year 25 third year BA Architecture and Interior Architecture students were awarded marks in the first class category for their ‘extended essays’, and many more came close too. This is a testament to their commitment to the idea of the critically minded architect/designer and the energy that they put into researching, thinking and writing about their particular subjects. There is a very wide range of subjects under investigation every year. But one can discern one or two trends; social housing gets quite a lot of (much needed) attention, as do other issues of urban politics and sociology in various places around the world; a significant number of students also took on more aesthetic or art historical subjects, sometimes as a means to learn about architecture’s relationships with philosophies and ideas from other disciplines. Some of the many notable examples from the year include: Nouha Hansen’s study of ‘Banglatown’ in London’s Brick Lane neighbourhood, which researched the local authority’s philosophical shifts that resulted in this promotional tag, and the Bangladeshi community’s ambivalent response to it.

Anastassia Zamaraeva’s essay, which analysed the role of image and media in the regeneration of the Cabrini Green estate in Chicago, which received high levels of media exposure outside of architecture. Man Wah Cheung’s study of Archigram’s collages and their relationship with ’60’s pop art and philosophy. Hari Tank’s study of the relationship between the Arts and Crafts movement in Britain and India, which concludes that the movement’s influence is still discernible in contemporary Indian architecture. Mututhanthrige Fernando’s essay, which was an account of community rehabilitation work being carried out in Palestine by ‘Riwaq’, which he compared to projects in Brazil and Holland. Simon Spafford’s essay, which looked at the spatial qualities and symbolic value of the ‘Occupy’ movement in London, which was informed by an historical understanding of the progressive enclosure of commons in the 17th century. Katy Scotter’s essay about the ‘Garden City’ designs for Ebbsfleet in Kent in which she balanced an analysis of Howard’s original proposals with a detailed critique of Proctor and Matthew’s 21st century version.

Architecture | Technical Studies

Pete Silver, Will McLean, Scott Batty, Chris Leung, Andrew Whiting, Lamis Bayar, Alex Schramm & Leftos Dousis

Technical Studies The Technical Studies teaching in the Department of Architecture at the University of Westminster has been designed as a linear progression from first year Undergraduate through to final year Diploma. For each year of study a first semester lecture series underpins the structure of the teaching. For example: in first year Undergraduate, a twelve-week lecture series is delivered by Pete Silver and Will McLean that sets out an approach to the structure, form, material and environmental principles that constitute the technology of the built environment. At the other end of the school (for final year MArch students), we organise a series of weekly headline speakers for the Thursday evening ‘open’ lecture series to highlight new trends or developments in the fields of architecture, engineering and environmental design.

http://technicalstudies.tumblr.com Guest Lecturers and visiting consultants: Patrick Bellew (Atelier Ten), Bruce Bell (Facit Homes), Jason Bruges (Jason Bruges Studio), Christine Cambrook (Buro Happold), Stephanie Chaltiel (AA), Bruce Coldham (Coldham and Hartman Architects), Peter Evans (MLM Consulting Engineers ), Brian Eckersley (Eckersley O’Callaghan ), John Farrell (xco2 Energy ), Allan Haines (EDICCT ), Alan Higgs (Alan Higgs Architects), Cath Hassell (ech2o), Ed Hollis (Structuremode), Oliver Houchell (Houchell Studio ), David Kendall (Optima Projects ), Geoff Morrow (Structuremode ), Christian Müller (2bm architekten ), Dave Rayment (Morph Structures), John Stanislav Sadar (monash University), Rosa Schiano-Phan, Mike Tonkin (Tonkin Liu ), Phil Waind (Waind Gohil Architects ), Andrew Watts (Newtecnic ), Chris Williams (University of Bath ), Grégoire Zündel (AZC Architects) 96

Silviu Motac and Tudor Cristescu: Water Tower As part of the first year Undergraduate technical studies course, students are introduced to fabrication processes and methods of visual communication through a structural ‘problem-solving’ exercise.

Ben Brakspear and Kishan San Bhopal: Vertical Aquaculture: A Breathing Faรงade Third year Undergraduate technical studies project collaboration. Ben and Kishan were awarded monies from the Robin Partington Partnership as part of a new award supporting the technological development of design work in the department.

Architecture | Technical Studies

Technical Studies Lectures The lecture series’ are an attempt to capture a contemporary philosophy of technology and introduce students to current and future trends in the technological development of architecture. We promote a multivalent approach to the use and understanding of technology in architecture and design and do not take a singular imperative as a starting point. Biomimicry, fluid dynamics, lightness, deployability, machine logic, material construction and geometry are all included as are human comfort, economy, climate, performance and appropriateness.

technical studies

TS2A

Scott Batty + Andy Whiting

Two Built Houses

TS6A

Tonkin Liu

technical studies

TS6A

Grégoire Zündel

AZC (Atelier Zündel Christea)

Two Unbuilt Houses

The Evolution of Shell Lace

Bouncing Bridges

29th Sept 2.30pm Room LG15

2nd Oct 6.30pm Room M421

11th Dec 6.30pm Room M421

University of Westminster 35 Marylebone Rd London NW1 5LS Baker Street Tube Station Buses 2 13 18 27 30 74 82 113 139 189 274

Technical Studies Weblog http://technicalstudies.tumblr.com/ Room M501 ext 3194 silverp@wmin.ac.uk w.f.mclean@wmin.ac.uk

technical studies

TS6A

Dr Chris Williams University of Bath

Engineering Geometry

technical studies

TS3A

TS6A

Chris Leung Jason Bruges Interactivity

Climate Change

16th Oct 6.30pm Room M421

24th Oct 2.30pm Room LG15

23rd Oct 6.30pm Room M421

University of Westminster 35 Marylebone Rd London NW1 5LS Baker Street Tube Station Buses 2 13 18 27 30 74 82 113 139 189 274

Technical Studies Weblog http://technicalstudies.tumblr.com/ Room M501 ext 3194 silverp@wmin.ac.uk w.f.mclean@wmin.ac.uk

technical studies

TS6A

TS2A

technical studies

TS3A

Pete Silver

David Kendall

The Electronic Architect

FRP Composites

6th Nov 6.30pm Room M421

17th Nov 2.30pm Room LG15

28th Nov 2.30pm Room LG15

University of Westminster 35 Marylebone Rd London NW1 5LS Baker Street Tube Station Buses 2 13 18 27 30 74 82 113 139 189 274

Technical Studies Weblog http://technicalstudies.tumblr.com/ Room M501 ext 3194 silverp@wmin.ac.uk w.f.mclean@wmin.ac.uk

Optima Projects

Rosa Schiano-Phan Passive Downdraft Evaporative Cooling

technical studies

TS3A

technical studies

TS2A

technical studies

TS6A

technical studies

TS2A

technical studies

TS3A

John Farrell Geoff Morrow Patrick Bellew Alan Higgs Cath Hassell §

xco2 energy

Environmental Design

Structuremode

Structural Design

Atelier Ten New Projects

echo2o Consultants

Sustainable Building

10th Oct 2.30pm Room LG15

6th Oct 2.30pm Room LG15

9th Oct 6.30pm Room M421

13th Oct 2.30pm Room LG15

17th Oct 2.30pm Room LG15

University of Westminster 35 Marylebone Rd London NW1 5LS Baker Street Tube Station Buses 2 13 18 27 30 74 82 113 139 189 274

Technical Studies Weblog http://technicalstudies.tumblr.com/ Room M501 ext 3194 silverp@wmin.ac.uk w.f.mclean@wmin.ac.uk

technical studies

TS2A

TS6A

TS2A

TS3A

TS2A

Bruce Bell

Dr John Sadar

The Chermayeff ‘Patio’ House

Digital Fabrication

Glass and Health

Designing with Concrete

20th Oct 2.30pm Room LG15

30th Oct 6.30pm Room M421

27th Oct 2.30pm Room LG15

31st Oct 2.30pm Room LG15

10th Nov 2.30pm Room LG15

University of Westminster 35 Marylebone Rd London NW1 5LS Baker Street Tube Station Buses 2 13 18 27 30 74 82 113 139 189 274

Technical Studies Weblog http://technicalstudies.tumblr.com/ Room M501 ext 3194 silverp@wmin.ac.uk w.f.mclean@wmin.ac.uk

technical studies

Phil Waind + John Ashton

Waind Gohil

TS6A

Stephanie Chaltiel

Bruce Coldham Coldham and Hartman Architects

TS6A

Brian Eckersley

FACIT Homes

TS6A

Christian Müller

Engineering Architecture

Fritz Haller

13th Nov 6.30pm Room M421

20th Nov 6.30pm Room M421

University of Westminster 35 Marylebone Rd London NW1 5LS Baker Street Tube Station Buses 2 13 18 27 30 74 82 113 139 189 274

Technical Studies Weblog http://technicalstudies.tumblr.com/ Room M501 ext 3194 silverp@wmin.ac.uk w.f.mclean@wmin.ac.uk

Mud and Computers

Eckersley O’Callaghan

TS3B

Allan Haines

EDICCT

TS1B

Scott Batty Water Tower

(Technical) Drawing (Technical) Thinking

Lamis Bayar, Alex Schramm + Leftos Dousis

27th Nov 6.30pm Room M421

27th March 2pm Room M421

2nd April 2 pm Room M421

University of Westminster 35 Marylebone Rd London NW1 5LS Baker Street Tube Station Buses 2 13 18 27 30 74 82 113 139 189 274

Technical Studies Weblog http://technicalstudies.tumblr.com/ Room M501 ext 3194 silverp@wmin.ac.uk w.f.mclean@wmin.ac.uk

Presentation and structural testing with

Looking outwards beyond immediate disciplinary boundaries towards culture, nature and cosmos, together with the ecologies revealed by other subjects, is vital to the education of the architect. The trouble with such extra-disciplinary perspectives is that they are often mistaken for an absence of innate method or specific knowledge. Our period in architectural history doesn’t help the situation through its over-estimation of specialist expertise compared with design knowledge, which is often mischaracterised as generalist. The ethos of the MArch implicitly contests such a view on the basis that the architect is more like a versatile synthesiser. For that reason the architectural imagination must remain omniscient and multi-directional but not without focus and intention. The motivation for the outward-facing intellectual journeys common amongst all of the design studios represented here is not to discover a more respectable method or rigorous habit of mind. Neither are we seeking to confuse student work with academic research, or scouting for data that fuels current obsessions with mapping and mechanisms of formal control. The goal is a perpetual disclosure of content and techniques of human practice without which architectural design would have no core substance. If the MArch points beyond the discipline, both ahead and behind itself (an avant garde and an arrière garde), then it is for one simple reason: the enrichment of creativity and design. Our aim is train architects who are alert to the surging possibilities of future conditions of human life. Equally, history and the presence of living traditions can impose their

own imperatives upon practice in a perhaps less overt but still relevant manner. The paradox of architecture’s status as an open work of speculative practice lies in its ability to compress broad horizons into urban situations. Architectural design occupies this transformative intersection of scales – between fragment and frame, part and whole, room and city, making and industry – allowing totality and deep context to be understood and made sense of. And never has there been a more urgent need for such interpretive creative acts, which is the culmination of the diverse material speculation conducted by the nine design studios whose endeavours are captured in the following pages. The MArch student body is drawn from an international pool of talent. This year saw two new studios enter the fold: DS12, co-ordinated by Ben Stringer and Pete Barber, and DS19 run by Darren Deane and Elantha Evans. The MArch asks questions that practice alone cannot address, for that reason the MArch and professional practice are intertwined. We are reticent towards the split condition of theory-practice often reported in the architectural press. Critical complementarity is our way of describing what ought to be a fertile relationship between two finite dimensions of a single-span discipline. It is a relationship that can never be free of tension and possibility, and neither should it be if the subject is to remain worthy of its position in higher education. Institutional ambiguity is architecture’s strength not its weakness, and the compendium of work contained here is a test of that principle. Darren Deane MArch course leader

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MArch ARCHITECTURE RIBA Part II

MArch Architecture | Design Studio Ten

Toby Burgess & Arthur Mamou-Mani Yr1: Agnieszka Tarnowska, Alex Berciu, Diana Raican, Vlad Ignatescu, Irina Ghiuzan, Maria Vergopoulou, Lianne Clark, Innes Shelley, Toby Plunkett, Jon Leung, Tom Jelley, Yulia Esha Mohd, Aslan Adnan, Joshua Potter, Tobias Power

Yr2: Joe Leach, Charlotte Yates, Ieva Ciocyte, John Konings, Lorna Jackson, Garis Iu, Sarah Stell, Naomi Danos

DS10: WeWantToLearn.net DS10 believe that architecture should be fun and is obsessed with giving you the opportunity to build your own designs. We like analogue experiments tested with digital tools, we want you to dare to be naĂŻve, curious, optimistic and enthusiastic. We believe architects should think like entrepreneurs, and should be designer/makers. We value combinations of conceptual bravery matched with architectural reality, and through the use of digital tools, for analysis, formal generation and fabrication, we seek an architecture of beauty which responds intelligently to its environment, and sits within a much wider cultural and environmental context.

Brief 1: Science-Fiction/Systems

Working in small groups to dissect historical visions of the future, to analyse how different eras foresaw the future, positively or negatively, and how the technological themes of the time directly influenced these visions of the future. In parallel studying one parametric system in great detail which could be natural, mathematical or structural, with the aim of understanding the rules that guide the creation of material and geometrical systems and simulate them in the computer. Parametric workshops, from physics simulations to recursive systems, creating a testing loop between the digital and the physical.

Brief 2: BURO/BURN Burning Man

Students proposed beautiful, playful, buildable temporary structures with the aim of inspiring awe and joy, three of which were funded and are now being built as a group during the Summer 2015. Buro Happold: Funded by Buro Happold Engineers, students designed and built four large scale installations at Buro Happoldâ&#x20AC;&#x2122;s London headquarters.

Brief 3: Future Cities

Students chose their own site, and designed cities of the future, considering what current technological or social trends could be predicted to grow and evolve in the future, considering how do you seed a new city, how do you create an economy, how do you deal with environmental change and the need for self sufficiency? Visions ranged from the apocalyptic to the utopian, thinking big but designing in detail and proposing worked-out intelligent visions of the future informed by rigorous analysis of current technological trends and speculation on their future. Unit Trip: Copenhagen to visit the prototypical city of Christiania.

Guest Critics and Collaborators: Neil Billett (BuroHappold Engineering), Andrew Best (BuroHappold Engineering), Emma Greenough (BuroHappold Engineering), Andrei Jipa (Jam.D), Stephen Melville (Ramboll and Format Engineering), Will Pearson (Ramboll and Format Engineering), James Solly (BuroHappold Engineering) 102

Tobias Power: The Infinity Tree (Winner of the 2015 Burning Man Art Grant)

MArch Architecture | Design Studio Ten

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(top) Lorna Jackson: Reflection; (bottom) Jon Leung: Bismuth Bivouac (Winners of the 2015 Burning Man Art Grant)

(top) Garius Iu; (bottom) Diana Raican (Winners of the Buro Happold Engineering Newman Street Competition)

MArch Architecture | Design Studio Ten

106

(top to bottom) Eva Ciocyte; Joe Leach; Naomi Danos

(top to bottom) Alex Berciu; Diana Raican; Gariu Iu

MArch Architecture | Design Studio Twelve

Ben Stringer & Peter Barber Yr1: Joshua Austin, Alicia Booth, Amy Francis-Smith, Peter Lynn, Weezie Newman, Dani Reed, Louise Young

Yr2: James Abbot, Glauco Borel, Joe Brownhill, Caroline Capaccia, Pat Carter, Rob Cullen, Jimi Deji-Tijani, Eleftherios Dousis, Freddie Jackson, Amy Knight-Archer, Dewald Koch, Jolene Liam, Matthew Loosley, Barnie O’Dowd, Alasdair Struthers, Alex Weedon

DS12: Archipelago of Urbanities / Alterdomesticity Our brief for the year was to imagine and design densely populated and ‘publicly owned’ urban islands in the Thames Estuary. London’s population is forecast to grow by around 2 million within two decades. So we asked: how should this growth be absorbed? And: shouldn’t this new wave of urbanisation act as a catalyst for imagining new modes of existence and new ways of designing cities? Going against our normal instinct for social and spatial integration, our hope was that a sense of ‘islandness’ would nurture alternative attitudes to urbanity and domesticity. As a cultural trope islands are often sites of experimentation, lawlessness, madness or paradise. Rivers too, have strong cultural connotations; they often frame narratives of exploration or act as major social frontiers. People who choose to live on the water are often independently-minded spirits. How can our projects usefully intersect with these cultural readings to produce new forms of urbanity without inadvertently creating ghettoes? We tried to work with ideas of ‘public ownership’ and ‘public funding’ in our design process. Could the construction of a new city be funded through something like crowd sourcing? How might a city’s form grow from this or other kinds of emergent economic processes which potentially work outside

normal channels of corporate finance and power? And how might the growth of our urban islands negotiate the fragile and highly contested ecology of the Thames Estuary? In semester one, we learnt about the Thames Estuary, its economy and ecology, the threat of rising water levels and how the river has been represented in fiction, about the idealistic settlements that have been built alongside it in the past, about its current demographics and so on. Everyone chose their own site and developed their own variations on the brief and began designing island cities, towns and villages. In semester two we shifted down scales and paid more attention to the domestic and social life of the islands and their relationships with their sites and to the means by which they would be constructed. Plus we hired boats and took trips out into the Thames Estuary to explore the banks from the water (and the fog). Field Trip: In November we visited Amsterdam where we stayed on a boat and looked at numerous interesting housing projects. We also travelled to Duisburg to explore some of the Emsherpark before heading to Cologne (via Wuppertal and the Schweberbahn) for the carnival and to see the work of Schwarz, Zumthor and others.

Guest Critics: Harry Charrington, Kate Cheyne, Adam Heilyn Llyr Evans, Nasser Golzari, Nabeel Hamdi, Frances Holliss, Jane McAllister, Arthur Mamou-Mani, Will McLean, Adrian Robinson, Yara Sharif, Toby Shew, Gordon Shrigley, Igea Troiani, Andrew Yau 108

(top) Rob Cullen: Cliffe Creek Co Op; (bottom) Glauco Borel: Island Plan

MArch Architecture | Design Studio Twelve

110

(top) Alasdair Struthers: Isometic; (bottom left) Freddie Jackson: Interior; (bottom right) Alex Weedon: Axonometric

(top) Pat Carter: Perspective with Tractor - Isometic; (bottom) Matt Loosley: Axonometric

MArch Architecture | Design Studio Twelve

112

(top) Freddie Jackson: Perspective Section; (bottom) James Abbot: Exploded Axonometric

(top) Jolene Liam: City Fragments; (centre) Dewald Koch: Walled Suburb Port; (bottom) Eleftherios Dousis: Model

MArch Architecture | Design Studio Thirteen

Andrei Martin & Andrew Yau Yr1: Mimoza Abazi, Victor Andersson, Alan Austin, Xiaoxi April Chen, Diana Darmina, Connie Man, Kenneth Patrick Michael Murphy, John Edmund Odametey, Antonios Papanastasiou, Nicolas Roccia, Mark Evgenievich Sloutskiy, Yin-Xu Yu

Yr2: Stuart Huggan, Ryan Lloyd Kingsnorth, Alexander Maclver, Francesco Montaguti, Emily Vanessa Pela, Bryan Ratzlaff, Jason Antony Sam, Lorenzo Setti, Sai Kofi Christian Wentum

DS13: Shanghai Affect DS13 operates as an applied think-tank, performing cultural analysis and design research. This year, through the context of Shanghai’s urban transformation, we have looked at the role, relevance and political agency of architecture in a contemporary cultural landscape defined by attention. At the core of each creative discipline is the production of a body of effects that shapes the way we relate to the world and each other. At DS13 we are interested in disciplinary specificity, in the effects specific to architecture. We believe that architecture’s relevance, its engagement with the world and its sense of agency emerges through a process that starts with the generation of effects and, through these effects, produces affect, thus shaping human experience. We classify affect as a set of drivers other than conscious thinking that prompt us to act. Affect is perhaps closer to mood, atmosphere and sensation. Because it precedes language, architectural affect has a tremendous potential to galvanise desire and create consensus in social mood.

Guest Critics: Mohamed Abdelghafar (RTKL), Jenny Carlin (Feilden Clegg Bradley Studios ), Roger Cooper, Clive Fenwick (Studio Iris ), Yashin Kemal (Robin Partington & Partners), Anna Liu (tonkin liu ), Alasdair Mealey (RHWL ), Guillem Vaquer Piza (Foster + Partners ), Natalie Shalam, Ben Stringer (Flying Hut ), Tim Thatcher (Wilkinson Eyre Architects), Andrew Watts (Newtecnic) 114

Shanghai is China’s largest city and the largest city in the world by population. It is also perhaps the most un-Chinese city in China – more akin to New York than Beijing. At the end of the First Opium War the old city was surrounded by concession zones ruled by Britain, France and the United States, each instantiating different forms of urban and architectural organisation. The ensuing collage of urban scales, styles and moods proved incredibly desirable, attracting a huge influx of expats and making Shanghai one of the most cosmopolitan and desirable cities in the world. We have examined the city just as it absorbs the impact of the 2010 Expo, an event aimed at forging a new trajectory for its urban development. As a contribution to this discourse, we have focused on the production of new types of affects, instantiated through novel material effects and spatial organisations, in order to create new urban conditions predicated on speculative forms of attention, desire and political will.

Special Thanks to: Tongji University, PLP Architecture, Neri & Hu Design & Research Office, Songzhuo Dai, Philip Yuan, Minghao Zhou, Hao Wang Lorenzo Setti: The Creative Nest

MArch Architecture | Design Studio Thirteen

mediarium South east ELEVATION

North - South Viewing Corridor Viewing corridor, visual connectin and physicalintergration between newsmakers, producers and

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(top) Francesco Montaguti: The L-Earning Sport Hub; (bottom) Jason Sam: Mediarium

(bottom) Mimoza Abazi: Shanghai Business School

Shanghai Business School An Informal Educator intertwining with

MArch Architecture | Design Studio Thirteen

118

Ryan Kingsnorth: Centre for Disease Control

Masterplan Development

Workshop 02: Field Operations

The main circulation trajectory is more fragmented and less linear as a result of the absence of buildings, further enhancing the element of unpredictability. The library/transport hub forms the main arrival point into the city, as the public exit the building and walk up the ground void, they are met with an element of surprise of small medieval village like buildings, which transforms to denser residential blocks away from the centre. The mixed use retail building and the office blocks becomes wayfinders amongst the chaos and the urban valley. The mixed use retail building sits within the centre of the nature strip, where the fragmentation of landscape takes place, transforming from

Street Life Intimacy Affectual Collage

DESIGN DEVELOPMENT III With the third iteration of my library design I began to place a potential circulation route within the atrium. The route in which the public move around the library and the speciﬁc elements that they are exposed to are a key factor in deciding whether the project is successful. Following my research into various design precedants, I began to look at how the public corecould branch out of its central position and begin to interact with the various program that surrounds it and also the outer facade. Program speciﬁc design features began to be incorporated into the library’s private spaces; the civic reading rooms become double height, as does the public performance space. Initial ideas of how the facade was to be treated began to formulate. Different levels of transparency begin to corrolate with the program which sits behind the facade.

(top) A lex MacIver/Antonios Papanastasiou/Connie Man: Effectual Experimentation; (centre left) Tony Yu: City of Leisure; (centre right) Victor Andersson: Shanghai Affectual Construct; (bottom l-r) Alex MacIver: Public Archive / Archived Public

MArch Architecture | Design Studio Fourteen

Gordon Shrigley, Christian Ducker & Thomas Reinke Yr1: Sara Calém, Mara Dimitru, James Dunn, Kimon Fakidis, Thomas Grove, Kathryn Mackrory, Plamena Momcheva, Rebecca Mwanja, Leighanna Patel, James Rennie, Peter Simpson, Andrea Villate, Ekaterina Zivanari

Yr2: Rebecca Abell, Daniele Natale

DS14: Decorated Silence: Ornament After Postmodernism / Today people are sold like objects, forced to work for little or no pay at the complete mercy of their ‘employers’, as according to the International Labour Organisation, 21 million men, women and children around the world are slaves /

/ Is Slavery The Next Logical Phase For Capitalism? / / Research Themes / Théophile Gautier / Pimps / Guerilla Architecture / PostHumanism / Modern Slavery / Art / Ornament / Everyday Utopias / Critical Theory / Blurring Boundaries / Imperialism

/ Praxis / Line / Adolf Loos / Violent Hierarchies / Avant-gardism / Aesthetics of Silence / Vienna / Blade Runner / Dante Gabriel Rossetti / The Heroic / Jeremy Bentham / Form / Cyprus / Susan Sontag / Activism / Ingmar Bergman / Silence / Jacques Derrida / Crime / Drawing / Barry Dainton / l’art pour l’art / Sensuality / Sex Slavery / Louis H. Sullivan / Cloud Atlas / Neo Puritanism / Rosi Braidotti / Punk / Chicago / Taboo / Augustus Welby Northmore Pugin / Human Trafficking / Persona / Honour Thy Consumer / Daniel Burnham / Everyday Utopias / Gothic Revival / Polemics / Lineature / Citizen Slave /

Guest Critics: Megan Ancliffe (Crossrail Architects), Rui Miguel Goncalves Cepeda, Sebastian Hornsby (CZWG Architects), Chloë Leen (PUP Architects), Ben Machin (Allford Hall Monaghan Morris Architects ), Patrick Massey (CZWG Architects ), Bongani Muchemwa (CZWG Architects ), Miloš Murin (Pollard Thomas Edwards Architects ), Tanya Okpa (Cazenove Architects ), Nina Shen (Poblete Black Grout ), Emilia Siandou 120

Rebecca Abell: Slave Tiles

MArch Architecture | Design Studio Fourteen

122

Rebecca Abell: Slave Embassy Library, Nicosia, Cyprus

(top) Thomas Grove: Arbeit Macht Frei, Ceramic tile; (bottom) James Dunn: Graphic Score & Map of Contemporary Slavery for One Performer

MArch Architecture | Design Studio Fourteen

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Thomas Grove: Birthing Hall, Hyper Uranion Complex, Cyprus

(top) James Rennie: Home Comfort, Ceramic Tile; (bottom) Mara Dimitru: Rumanian Red, Ceramic tile

MArch Architecture | Design Studio Fifteen

Kester Rattenbury & Sean Griffiths Yr1: Tom Bower, Amelia Breadman, Mitesh Chauhan, Molly de Courcy Wheeler, Ollie Cradock, Laurence Deane, Loreta Lukoseviciene, Ryan Sailsman, John O’Sullivan, Rob Whalley

Yr2: Liam Atkins, James John Clifford Rogers, Simona Cojocaru, Amy Gaspar Slayford, Miranda Hammond, Anna-Maria Kiho, Khairul Izzuddin Mohd Hiffni, Joshua MacManus, Marie Price, Simon Shillito, Laura Steventon, Edward Ward

DS15: The Minimum Number of Lines Design Studio 15 continue to test the limits of the student architectural design project, with a new kind of experimental brief driven ‘by chance’: taking the tactics the minimal composer John Cage used to compose his famous silent (and not-so-silent) compositions – into the riskier world of architecture. Last year we established this strange ‘chance-driven’ art-house x-ray version of the student project; revelled in the real qualities of the strange artefacts produced; and discovered its strong relationship to conceptual art and vernacular improvised buildings. This year we bring it closer to the mainframe of the student design project, bringing the perennial problem facing all architecture students on our

course (how do you convert all this experimentation into a ‘building’ project?) up front. The students therefore consulted the I Ching, the ancient book of Chinese wisdom, for directions in how to make, draw, model, cast, knot, break, mend, and assemble a fantastic range of artworks and objects; to re-read and redevelop them as peculiar components in their own rights. And then to consider how they might be used or assembled to generate or construct parts of a film school among the caves, rock churches, ravines and abandoned industry and quarries of the astonishing cave city of Matera, southern Italy. And what kind of final drawings might complete this challenging process.

Guest Critics: Rosa Appleby Aylis, Matt Barnes, Eddie Blake, Peter Hinchliffe, Hazel Keane, Sam Kebbell, John Merry, Ruby Ray Penny, Michael Perkins, Emily Posey, Vera Sarioglu, Matteo Sarno, Fred Scott, Nina Shen Poblete, Jamie Telford, David Thorpe, Annabel Wharton 126

(right) Anna-Maria Kiho: Clay Tower 1:100; ( far right) James John Clifford Rogers: Bad Building System

MArch Architecture | Design Studio Fifteen

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this page: (top) Amy Gaspar-Slayford: Matera Glitch; (above left): Liam Atkins: Perforated Brick; (centre left) Khairul Izzuddin Mohd Hiffni: Faรงade; (bottom left) Laura Steventon: Service Detail; (right) Miranda Hammond: Service Section

facing page: (top) Simon Shillito: Level 1 Plan 1:20; (bottom) Marie Price: Fly Tower

MArch Architecture | Design Studio Fifteen

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(top left) Joshua MacManus: Waiting Room; (bottom left) Edward Ward: Concrete Tiles; (right) Simona Cojocaru: Matera Animal Training School - Stables

MArch Architecture | Design Studio Sixteen

Anthony Boulanger, Stuart Piercy & Guan Lee Yr1: Andreas Christodolou, Adriyana Dimitrova, Atanaska Dimitrova, Eline Jiachen Lu, Louis Ngai Lam, Anna Popielarska, Chelsie Rashti, Alex Russell, Andrew Tam, Kate Tomlinson, Dean Vandervord

Yr2: Ieva Bartkeviciute,Vainius Buragas, Michelle Evans, Charlotte Hill, Shaun Huddleston, Amy Martin, Alexia Michael, Leo Palmer, Liam Spencer,

DS16: Lampedusa [EU] Lampedusa, a 20km2 arid rock located in the

middle of the Mediterranean, is Italyâ&#x20AC;&#x2122;s southern most island. It is politically and administratively part of the autonomous region of Sicily, though geographically the island belongs to Africa. On the one hand, Lampedusa is a Mediterranean paradise; a barren landscape of sandstone cliffs, white beaches and idyllic turquoise waters. But its strategic location as a landing base and maritime stop-over has made for an intriguing and often volatile history of inhabitation and abandonment, which contributes to its eccentric character today. More recently it finds itself at the heart of the European Unionâ&#x20AC;&#x2122;s migration crisis. The island presents a conflicting and stimulating environment, tranquil in its natural beauty, energised by a concentration of social, political and cultural provocations. The relationship of the island with the capital city of Palermo was drawn upon and we were inspired by the historical novel Il Gattopardo (The Leopard), written by Giuseppe Tomasi di Lampedusa, a direct descendant of the first Prince Ferdinand Tommasi di Lampedusa, who settled on the island in the 17th

Guest Critics: Sophie Cole, Sarah Custance, Murray Fraser, Ed Grainge, Ioannis Halkiopoulos, Yeoryia Manolopoulou, Dominic McKenzie, Will McLean, Ben Newcomb, Callum Perry, Al Scott, Harald Trapp, Victoria Watson and other Design Studio Tutors 132

century. Il Gattopardo portrays the decay of the aristocracy during the unification of Italy in the 19th century and its confrontation with the inevitable and universal process of change. Students first set out on an intense 4-week project, where groups of three were asked to invent a speculative piece to be instated on the island. Each construct was crafted at Grymsdyke Farm and transported to the island in the confines of a single check-in piece of luggage. The installations were tested prior to the trip and completed in situ by a limited range of materials sourced on site. For the remainder of the year students continued to develop their individual research on topics intrinsic to the conditions found on Lampedusa or in Palermo. They created their own briefs and selected their own sites to generate architectural propositions with explicit programmatic contexts. A variety of processes and techniques for developing and representing ideas were encouraged, with a continued emphasis on testing through making.

Special Thanks to: Callum Perry and Grymsdyke Farm Charlotte Hill, Ieva Bartkeviciute, Andreas Christodolou: Sachetto Nove

MArch Architecture | Design Studio Sixteen

Charlotte Hill: Erosions & Deformations, Rotoli Cemetery

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Charlotte Hill: ‘Everyday Ritual’ Civic Vision for Rotoli Cemetery, Palermo

Michelle Evans: Lampedusa Market Hall

Michelle Evans: Market Hall Detail

Shaun Huddleston: EU Association of Social Anthropologist Centre

MArch Architecture | Design Studio Sixteen

Amy Martin: Building System Detail

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Andreas Christodolou: Front Faรงade (Casino)

Andreas Christodolou: The Lampedusa Chronicles

Amy Martin: Site Plan

Amy Martin: Centre Culturale di Lampedusa [a process of (re)discovery] - View of the Roofscape

MArch Architecture | Design Studio Seventeen

Mike Tonkin, Anna Liu & Jonathan Schofield Yr1: Joseph Armstrong, Gulistan Aslan, Samuel Davies, Thomas Hurrell, Kainaz Karkaria, Joanna Latham, Hamish Macpherson, Elin Parry, Zahra Said, Jing Wen, Thomas Wildbore

Yr2: Anna Beer, Matthew Burnett, Joanna Harding, Lim Zi Kang, Zipporah Ong, Oliver Sadler, Paul Thorpe, Henry Turner, Christina Varvouni-Giatrakou, Yat Hang Edward Wu

DS17: Brave New Kew Nature is the AGENDA Every organism in nature – large, small, round, flat, vessels for flight, vessels for light – can be seen as a structure designed for a purpose, to perform a specific task, to respond to an environmental challenge. Nature is a quarry of design principles, diverse, ingeniously economical. We studied the drivers between form and structure, structure and environment, environment and system, modelling these interactions to understand the principles.

Story-telling is the METHODOLOGY Universal patterns of human nature, behaviour, desires, ambition, relationship with nature, can be read in stories, as they are embodied in architecture. Stories are a quarry of universality, specificity, and humanity. We looked at Kew Gardens’ remit: unique links to royal patronage, colonial expeditions, scientific research, artwork and pleasure gardens, and its current state of financial cuts and physical disconnection. How can the resources and remit of Kew be taken forward, to reinvent Kew in a new story, and reassert it in 21st century London?

Structure is the TOOL Geometry, macro and micro, gives strength to structures, principles that DS17 students continued

to explore through digital and physical modelling, models sometimes tested to destruction. In the process each student developed a new species in single-surface structures, informed by precedents of natural structure and geometry. In Italy we visited civic buildings where structure, form and programme are integral: the Palace of Labour and the Exhibition Building by Pier Luigi Nervi, the Turin Cathedral, the Fiat Building.

BRAVE NEW KEW From a personal observation of Kew, each student cored down into a subject matter and developed an inspirational solution for Kew. The proposals have been driven by vastly different agendas: political, economic, social, scientific, and environmental. In parallel, the students have invented a biomimetic architectonic language true to form and forces, testing and expanding in scale to occupy a particular site in Kew, to be occupied in a particular way by a particular group of people, from rowers to cancer researchers to potato farmers. Term 3 saw the testing, refining and development of the students’ architectural language into structures of sublime beauty and lightness, with purpose, place and people, towards a Brave New Kew..

Guest Critics: Tahera Ansari, Valentin Bontjes van Beek, Toby Burgess, Harry Charrington, Ed Clark, Nate Kolbe, Guan Lee, Tim MacFarlane, Arthur Mamou, Ellinor Michel, Harry Parr, Michael Pawlyn, Alex Reddihough, Gordon Shrigley, Wolfgang Stuppy, Andrew Yau 138

Oliver Sadler: Kew Tidal Pavilion

MArch Architecture | Design Studio Seventeen Main Entrance of the Palm House

Side Entrance of the Palm House

a rtificial

n ature

t ogether

m odel 1

p ropoSed n ew r oute

m odel 2

i ndoor S paceS

m odel 3

m odel 4

exploration Diagrammatic drawings and models were used to explore the space and journey from Victoria Gate to the Palm House.

field

Field

soil excavation & collection

Heading Spiral

(top) Zipporah Ong: Plasticine Water & Movement Analysis; (centre) Paul Thorpe: Structural Studies; (bottom) Lim Zi Kang: Kew Soil Bank

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spiral

heading

Curved

curved

Circle

circle

(top) Henry Turner: Geometry & Strength; (centre) Henry Turner: Kew Healing; (bottom) Matthew Burnett: Tailored Structure Testing

MArch Architecture | Design Studio Seventeen

Roof Planters

The roof planters act as structural ties that hold the pods together in tension to prevent splaying. They are pre-fabricated components made from corten steel sheet and have a drainage system incorporated into them. The gaps in between are filled with structural glass that double as light wells into the space below and access paths between the rows of potatoes.

Steel Shell Pods

The pods provide the accommodation for the Tuberetum’s distilling, cooking, eating, adn drinking facilities, with the roofs providing the planting area. The shells are constructed from ribbons of corten steel that are welded together. The ribbons arch up longitudinally to provide openings.

First Floor Circulation

The first floor/roof level provides the main circulation around the potato growing area, and access over the Elizabeth Gate into the Royal Botanic Gardens. It is a concrete slab fitted to a cantilevering steel frame fixed between the pods. There are four ‘circulation nodes’ with a cast-concrete lift shaft & staircase.

Steel Frame

A single-storey steel frame provides the supporting framework for the first floor circulation. It is cantilevered between the pods and cast-concrete lift shafts.

Ground Level & the Site

Tuberetum| Kew Green 142

Structural Concept

The ground level circulation provides access into the accommodation contained within the pods and the foundations for both steel frame and pods. The surface is poured concrete.

(left) Zipporah Ong: Water Museum; (centre) Anna Beer: The Tuberetum - Urban Potato Project; (right) Yat Hang Edward Wu: Hide & Seek Seed Gallery

STRUCTURAL_ STRUCTURAL_ USING SHEET MATERIAL_ USING SHEET MATERIAL_ After the curvature analysis has been conducted After the thecurvature model can analysis then be hasworked been conducted to extracting the flat model sheet cansections. then beThis worked is done to extracting via a process flat of sheet selecting sections. each This is done via a process of selecting each section (sometimes multiple if the curvatures section permit) (sometimes and then multiple using Rhino if the curvatures modellingpermit) software, and unrolling then using the Rhino surface.modelling The produced software, unroll unrolling is then tidies the surface. and The produced unroll is then tidies and checked and labelled accordingly. The component checked and are labelled then arranged accordingly. in within Thethe component sheet in order are then to find arranged the most in within economic the sheet use ofinspace orderand to find material. the most economic use of space and material.

STRUCTURAL_ USING SHEET MATERIAL_ After the curvature analysis has been conducted the model can then be worked to extracting flat sheet sections. This is done via a process of selecting each section (sometimes multiple if the curvatures permit) and then using Rhino modelling software, unrolling the surface. The produced unroll is then tidies and

checked and labelled accordingly. The component are then arranged in within the sheet in order to find the most economic use of space and material. STRUCTURAL_ STRUCTURAL_ USING SHEET MATERIAL_ USING SHEET MATERIAL_ After the curvature analysis has been conducted After the thecurvature model can analysis then be hasworked been conducted to extracting the flat model sheet cansections. then beThis worked is done to extracting via a process flat of sheet selecting sections. each This is done via a process of selecting each section (sometimes multiple if the curvatures section permit) (sometimes and then multiple using Rhino if the curvatures modellingpermit) software, and unrolling then using the Rhino surface.modelling The produced software, unroll unrolling is then tidies the surface. and The produced unroll is then tidies and checked and labelled accordingly. The component checked and are labelled then arranged accordingly. in within Thethe component sheet in order are then to find arranged the most in within economic the sheet use ofinspace orderand to find material. the most economic use of space and material.

(top & centre) Christina Varvouni-Giatrakou: Kew Jelly Kitchen; (bottom left) Yat Hang Edward Wu: Hide & Seek Seed Gallery; (bottom right) Joanna Harding: Kew Olfactory

MArch Architecture | Design Studio Eighteen

Lindsay Bremner & Roberto Bottazzi Yr1: Jessica Hillam, Oscar McDonald, Ben Pollock, Iulia Stefan, Alice Thompson

Yr2: Andrew Baker-Falkner, Jared Baron, Rupert Calvert, Cheryl Choo, John Cook, Sophie Fuller, Martino Gasparrini, Niall Green, Tristan Hartley, Matthew Hedges, Natasha Khambhaita, Shiue Nee Pang, Michael O’Hanlon, Anna-Maria Papasotiriou, Emma Swarbrick, Jack Thompson

DS18: Architecture, Energy, Matter 2: Fracking the Karoo

What we have then is a kind of ‘wisdom of the rocks,’ a way of listening to the creative, expressive ﬂow of matter for guidance on how to work with our own organic strata.1

DURING 2014/15, DS18 sited its investigation into architectures of energy, geology and computation in Graaff Reinet, a small historic town in the Karoo in South Africa where hydraulic shale gas licenses were pending. These were opposed by legal challenges and community activism and have subsequently been withdrawn due to the drop in global oil prices. The studio began with a series of computational exercises to investigate and simulate the behaviour of matter in motion using the fluid simulation software Realflow. This was undertaken as a way of visualising material processes and beginning to cultivate an aesthetic sensibility to be developed later in the studio. At the same time students mined and represented data on South Africa’s resources and how they are transformed into energy and value

Guest Critics: Christos Antanopoulos, Jennifer Beningfield, Richard Difford, Jeg Dudley, Neil Dusheiko, Jon Goodbun, Dirk Lellau, Costas Grigoriadis, Jennifer Juritz, Constance Lau, Lorenzo Pezzani, Dimitar Pouchnikov, Francesco Sebregondi, Maria Veltcheva, Filip Visnjic, Etienne Turpin, Robert Wall, Alex Watts 144

and circulated through society. After a 10-day long field trip to Cape Town and the Karoo, the studio developed energy master plans for Graaff Reinet and the surrounding hamlets using solar, wind, shale gas, solid waste or more experimental technologies. eEach student then identified an architectural project within their strategy and fully realised and represented it in spatial, material and aesthetic terms. Central to the design agenda promoted by DS18 is computational software, particularly Rhino, Grasshopper and Realflow.

Manuel DeLanda, “Non-organic Life” in Incorporations, Zone 6, eds. Jonathan Crary & Sanford Kwinter (New York: Urzone, Inc., 1992) p143

Thanks: The Reinet Foundation for sponsorship for the field trip to South Africa; Jan Glazewski for organising the Shale Gas Symposium at the University of Cape Town; Christos Antanopoulos, Jennifer Beningfield, Stefan Cramer, Jeg Dudley, Ian Fraser, Derek Light Gabby Shawcross and Robert Wall for additional input to the studio John Cook: Camdeboo Solar Estate Tourist Map

MArch Architecture | Design Studio Eighteen

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(left) Iulia Stefan: Invisible Light; (right) Andrew Baker-Falkner: Living Module, Nomadic Solar City

(left) Shiue Nee Pang: Experimental Wind Tribe; (right) Jared Baron: Composting Facility, Cultivated Wastelands co-operative

MArch Architecture | Design Studio Eighteen

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Cheryl Choo: Plasma - Fourth State of Matter

(top) Jack Thompson: Umasizakhe Urban Agriculture Synthesis Building; (bottom) Rupert Calvert: Energy Parliament

MArch Architecture | Design Studio Nineteen

Darren Deane & Elantha Evans Yr1: Guy Adams, Damien Clayton, Georgia Follett, Aaron Fox, David Hawkins, Jonathan Oswald, Jack Rowlinson, Jacob Sjikora, Ahmed Tejan-Jalloh, Victoria Thong

Yr2: Camilla Bartz-Johannessen, Charlotte Blythe, Sam Cady, Flora Cselovszki, Katherine Edwards, Daniel Gullan, Joanna Jones, Jamie Kirkham, George Kneale, Pavla Krejcova, Dylan Main, Matthew Mitchell, Jade Pollard,

DS19: Choreographics of the City Man is intermediate because he is a mixture […] in that his act of existing is the very act of bringing about mediations between all the modalities and all of the levels of reality within him and outside him.1

Where do the edges of rooms begin and end? At what point are finite chunks of architectural programme weakened by the infinite imperatives and possibilities of context? The lack of a clear, systematic answer to these questions identifies the persistent thematic of DS19: to explain the deep, ambiguous texture of architectural situations. An implicit conviction of the studio is that the manipulation (through design) of ambiguous boundary conditions is a technique specific to architecture; one that cannot be reduced to expertise, exact science or indeed subjected to any form of digital predication and elemental mapping. The creative interplay between a thing, its room and the background context is a paradoxical totality resistant to scientific appropriation (a poetic delay of

reason or function), but one that implicitly orientates perception, understanding and anticipations of the built environment, a latency we cannot do without. Our interest in dense poetic relationships that both ramify (thicken) architectural settings, connecting them with deeper ‘levels of reality’ (culture, nature, myth etc.) guided this year’s inquiry into fragments of urban festival located in Southwark and Canterbury. Festivals embody an authentic structure that exceeds and escapes reduction to mechanisms of contemporary tourism. In particular, their potential to inscribe weak orders of meaning, articulate dialogue between institutions, and saturate urban rooms with mediating qualities that serve to co-mingle the everyday with the symbolic. Our main intention has been to explore a type of architectural fidelity that, through its interaction with the city in a festive state, produces intensive-extensive rooms that are well rounded in meaning and rich in circumstance. 1 Paul Ricoeur, Fallible Man, rev. trans. Charles A. Kelbley, (New York: Fordham University Press, 1986 [1960]) p.3

Guest Critics: Andrei Martin, Toby Burgess, Ben Stringer, Victoria Watson, Harry Charrington, John Griffiths, Tim Lynch (Eric Parry Architects), Sarah Milne, Doug King 150

Aaron Fox: Extimate Space

MArch Architecture | Design Studio Nineteen

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(left and centre) Damien Clayton: Lapidarium Cosmogram; (far right) Damien Clayton: Unfolded Plan

Picture caption (left); picture caption (right)

picture caption

MArch Architecture | Design Studio Nineteen

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(top) Jonathan Oswald: Festive Frame and Territory; (bottom left) Sam Cady: Capriccio; (bottom right) Group Mapping: October Plenty Procession, Southwark 2015

(top left) George Kneale: Sacrificial Abattoir; (top right) Kathryn Edwards: Bathhouse Entrance; (bottom) Joanna Jones: Panorama of Festive Communication

MArch Architecture | Dissertation

John Bold (module leader), Harry Charrington, Davide Deriu, Richard Difford, Andrew Peckham, Ben Stringer, Victoria Watson & Julian Williams

Grounded in a History and Theory course, students choose their own subject to explore in the Dissertation, guided by tutors with a range of specialisms and methods. We encourage a wide range of topics and a catholicity of approach with the intention that the work produced will be distinguished by its high quality rather than by adherence to a rigid methodology or a School style. This approach has proved very successful in gaining Westminster a high reputation for the excellence of the results, fully justified once again this year. In an assiduously researched and beautifully presented dissertation, Camilla Bartz-Johannessen has analysed the impact and value of the Norwegian Tourist Route Project, exploring the relationship between architecture, tourism, landscape and identity, bringing to bear wider arguments about place, iconography and media.

Caroline Capaccia has investigated the landless workers’ rural social movement in Brazil, demonstrating through a close analysis of land use, supported by an excellent understanding of procedures, regulations and statistics, the wasteful and unequal distribution of land in the service of agri-business: smaller settlements are not only more socially responsible, they are also more efficient and sustainable. John Cook has considered the design, history and impact of Fiat’s celebrated Lingotto car plant in Turin in the context of the industrial advances, artistic movements and personal ambitions which shaped it. This is a biography of a building with an excellent grasp of narrative. It is perhaps ironic that it was already out of date in terms of factory design in the 1920s but well ahead of its time in terms of marketing and branding.

In an observant and thoughtful reading, Anna Beer has explored the phenomenological and symbolic significance of ‘cloud’, centred on Jorn Utzon’s Lutheran Bagsværd Church in the suburbs of Copenhagen. The dissertation begins with the structural and spatial logic of the church, and Utzon’s vision for the vaulted cloud ceiling, before going on to consider questions of significance and meaning.

(top left) Caroline Capaccia: Brazilian Shelter (photo: Rodrigo da Cunha Nogueira)

(top right) Anna Beer: Vault Climax, Bagsværd Church

(bottom left) Camilla Bartz-Johannessen: Aurland Outlook

(bottom right) John Cook: Lingotto car plant

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MArch Architecture | Dissertation

Francesco Montaguti presents a series of moments composed of carefully selected pairings of spaces by the architect Le Corbusier and the artist James Turrell. Their works are explored and contrasted through such concepts as horizon, threshold, boundary, frame and inside/outside. The dissertation is beautifully presented, with stunning photographs.

privacy: recent technological advances have enabled the exposure to view in vivid detail of this hitherto ignored domain. There is a fine grasp of theoretical ideas as well as the historical context of public/ private territories, all allied with a spatial analysis which is based on a critical and creative use of satellite imagery.

Life imitates art imitating life in Leo Palmer’s fine study of the use of Bernardo Bellotto’s eighteenth-century paintings in the post-war reconstruction of Warsaw. This is an enlightening walk through history, which evolves in the telling, from the artist’s representations to a discussion of the vexed notion of authenticity, here treated as a multi-faceted discourse rather than a blunt and dogmatically applied ideology.

In considering the work of Peter Zumthor, Liam Spencer has juxtaposed image/object definitions as a vehicle for a reflection on architecture and media. This is an ambitious study, critical in exposing inconsistencies yet reinforcing the notion of the architect’s brilliance. The author resists easy options, providing an active engagement with ideas throughout, never retreating into the mere recounting of information.

The contestation of the Malay identity begins with a questioning of informal settlement patterns, which is then developed by the author, Shiue Nee Pang, into a serious study of the Kampung Baru and its changing relationship to concepts of Malaysian identity. The dissertation demonstrates depth of reading and firsthand encounters, showing an impressive ability to relate wider theories to the specific place. In ‘The Overlooked Back Garden’, Marie Price has highlighted the contest between curiosity and

(top left) L eo Palmer: Visitationist Church (Kościół Wizytek) in Warsaw, & the accompanying tourist board showing the painting by Bernardo Bellotto (centre left) Y at Hang Edward Wu: Exploded projection of Andrea Pozzo’s original perspective drawing (bottom left) L iam Spencer: Peter Zumthor dissertation

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‘Pictorial World’, by Yat Hang Edward Wu, presents a sustained and focused analysis of the quadratura painting of Andrea Pozzo, with particular reference to two ceiling paintings in Rome and Vienna. There is a rich mix here of research and graphical analysis: drawings and models help to provide a close reading of the work and its creation. It becomes clear that the artist’s pictorial world is coexistent and continuous with the real world of the observer.

(top right) Marie Price: Satellite Imagery of Golders Green (case study site), tiled from Bing Maps (centre right) F rancesco Montaguti: Le Corbusier/James Turrell dissertation (bottom right) Shiue Nee Pang: Kampung Baru facing Kuala Lumpur Convention Centre

MArch Architecture | Digital Representation

Richard Difford (module leader), Roberto Bottazzi, Adam Holloway & Andrei Jipa

Undertaken in the first semester of the first year on the MArch, the Digital Representation module provides the opportunity to learn some key computer skills and to reflect critically on the use of digital media in architecture. Acknowledging the broad range of computer skills that each individual brings to the course, this

module offers a choice of four different groups, each with a different focus and set of interests. Each group combines technical instruction with related theory and precedents. In this way everyone gets a chance to learn something new and to build on their existing knowledge and experience.

The four groups this year were as follows:

Group A

Group C

Digital Craft with tutor Adam Holloway

Computational Design with tutor Andrei Jipa

Utilising digital fabrication and generative modelling tools, this group uses simulation and prototyping as part of a recursive cycle of testing and refinement in the design process.

Drawing on contemporary scripting and parametric modelling techniques, this group explores the potential for geometrically driven computational design.

Group B

Group D

Mapping Complex Data with tutor Roberto Bottazzi

Interactive Technologies with Richard Difford

Working through both 2D graphics and 3D computer modelling, this group looks at the ways in which digital media can be used to reconstruct a link between data and meaning.

Focussing on the use of programmable graphics and physical computing, this group considers the way devices such as sensors, motors and lights can be used to construct responsive architectural features and environments.

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Group D: Joanna Latham

MArch Architecture | Digital Representation

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(top) Group A: Amy Francis-Smith; (bottom) Group B: Damien Clayton

(top) Group C: Tobias Power; (bottom) Group D: Thomas Hurrell

Studying for a Masters degree is a valuable opportunity. For some students, part way through their architectural education, it is a chance to specialise and develop their own design identity; for others, it is the first step towards a PhD and an academic career. But for all those engaged in Masters level study in the department of Architecture, a Masters provides the context in which to reflect on their work as architects or designers and to enhance their design skills. This year has seen some important changes to our courses: The MA Architecture has, for example, been redesigned to offer more flexibility and a more extensive range of options â&#x20AC;&#x201C; including specialist pathways in History and Theory, Cultural Identity and Globalisation, and Digital Media. The MA Interior Design, meanwhile, continues to build on its successful mix of conceptual ideas and practical design skills to provide a valuable grounding for professional designers. But perhaps most significantly, this year also sees the introduction of a new MSc in Architecture and Environmental Design which offers technical knowledge and skills along with a critical perspective on energy efficient design.

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Each course has its own individual character and subject-specific content but importantly all the courses are designed to support a variety of approaches to the thesis project. The following pages feature a small sample of work from all three programmes.

Richard Difford Department of Architecture: Coordinator of Postgraduate Study

MASTERS IN ARCHITECTURE

Masters | MA Architecture

Davide Deriu, Richard Difford, Samir Pandya (Course Leaders) John Bold, Nasser Golzari, Jon Goodbun, Krystallia Kamvasinou, Dirk Lellau, Clare Melhuish, Filip Visnjic Burcu Balaban, Noha Baruti, Oliver Beasley, Mihail Bila, Iuliana Claudia Bila, Jianfeng Chen, Jue Chen, Hoda Chizari, Dena Davani, Anna Ekonomova, Stepan Grigoryan, Jia Xin Han, Amna Khalid, Anna Kirnos, Maryam Masoudi, Cristina Ortiz Zamorano,

Santiago Rizo Zambrano, Grace Skinner, Ana Lucia Trincao Tomaz, Vaida Venskune, Diksha Wahi, Danielle Elena Zacharia, Luka Zautashvili

MA Architecture The Architecture MA course offers a flexible programme of study and a unique opportunity to pursue advanced postgraduate research combining high-level theoretical investigation with innovative design approaches. The Architecture MA provides a course that is wide ranging and flexible, facilitating alternative modes of study and a range of options, including the choice of either a written or designbased thesis. The programme also allows for specialism through its three designated pathways: Architecture (Cultural Identity and Globalisation); Architecture (Digital Media) and Architecture (History and Theory). Alternatively, students can also create their own pathway by selecting and combining relevant modules that meet their individual requirements. The range of optional and specialist modules offered allows students to develop their individual learning trajectories through the in-depth study of specific

subject areas, involving theoretical components as well as practical applications. A series of theoryrich modules stimulate students to analyse current trends in architecture, design theory and practice on the basis of their research and critical judgement, and to use these insights to produce high-quality written work in a scholarly manner. In parallel, a set of design-oriented activities encourages students to develop their artistic, aesthetic and intellectual vision through the use of different media, in order to produce individual proposals with a high level of spatial, material and formal resolution. The course is taught within a dynamic learning environment that comprises seminar-based sessions along with studiobased activities, suitably integrated by a wide range of lectures, tutorials, site visits, research training sessions, and independent study periods.

Guest Critics: Hélène Binet, Lindsay Bremner, Amy Butt, Eray Çaylı, Laura Englezou, Francesca Gelli, Josephine Kane, Chiara Mazzoleni, Andreas Michaelides, Paola Piscitelli, Yara Sharif, Maria Veltcheva, Victoria Watson 166

Maryam Masoudi

Masters | MA Architecture

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Santiago Rizo-Zambrano

Anna Ekonomova

Masters | MA Interior Design

Dusan Decermic, Ian Chalk, Debby Kuypers, Michael Guy, Filip Visnjic & Joe King Amani Aljohani, Sara Alrashed, Chloe Azara, Angsana Boonrit, Anna-Kaisa Brenig Jones, Kerry Brewer, Natapol Chuengwerawan, Thelma Constantinou, Camelia Ali Zaki Ewiss, Goneta Heta, Claire Jones, Sepinood Kakooei, Lai Ka Kei, Liu Shih-Chi, Meshael Malloh, Maryam Mansouri, Rhyana McKay, Theresa Obermoser,

Bhakti Oza, Siret Ozcin, Rohit Raka, Mayura Ramakrishnan, Crystel Salame, Irena Stankovic, Catia Fernandes Teixeira, Riya Thomas, Adriana Vela Alonso, Chong Wang

MA Interior Design EMBRACING the material and intellectual complexities and contradictions magnified by the psychological agency inherent in the subject of interiority, our students, like wayfarers, are tracing their own paths through this ever changing palimpsest-like topography, unearthing traces of history over which they weave and manipulate contemporary obsessions. Interiors are elusive by nature, both inviting and conspiratorial, sometimes dark and brooding, but always strangely alluring. As a reflective example bearing these complexities, Retail and Decoding The Interior modules are set up in this context and seen as both antagonists and attractors, offering professional vocational action and active intellectual reaction. Our thesis projects are exemplars of these manifold concerns, embracing ambitious conceptual strategies but also focusing on delicate, intricate material renderings. As the static, indulgent “expert” gaze is being augmented and supplanted by the contemporary democratic idiom of the omnipresent

cinematic “measuring” of time and space, the course is immersed in these new responses through film and animation components built into the Case Study and Introduction to Design Computing modules. We are indebted to a tight-knit group of dedicated teaching staff, drawn from the sharp edge of London’s dynamic practice battleground, mirrored by the presence of their no-less-vibrant, multifaceted academic counterparts, whose own histories have been informed by the rigours of practice. As the contemporary metropolitan dynamic shifts and changes in front of our eyes, so does the course, not satisfied to be frozen in any kind of cultural or practice framework. We will always rigorously question the established norms. This is reflected in the ambitious, diverse, multicultural creative works communicated by our students.

Guest Critics: Willemijn Geldorp, Nicholas Hockley, Susan Lawson, Claire Richmond, Reza Shuster 170

(top) Claire Jones: The Waiting Room - mapping; (bottom) Camelia Ewiss: The Waiting Room - the performance record

Masters | MSc Architecture & Environmental Design

Rosa Schiano-Phan (course leader), Colin Gleeson, Nasser Golzari, Jon Goodbun, Juan Vallejo, Zhenzhou Weng & Mike Wilson Mosaab Alaboud, Dani Craig, Peng Ding, Apurva Gadkari, Manisha Katial, Sharmeen Khan, Trong Duc Nguyen, Aakashi Patel, Gaurav Pershad, JosĂŠ Puchol-Salort, Talia Quesada, Yutaka Sato

MSc Architecture and Environmental Design The Architecture and Environmental Design MSc offers a comprehensive programme

responding to the needs of current and future professionals for a deeper understanding of the principles of environmental design, and their effective application into architectural practice worldwide. The course reacts to recent developments in the discipline, responding to new research and experimentation, addressing the lack of environmental criteria in the creative design process and of comprehensive performance prediction and feedback protocols. Students gain the knowledge and tools to make informed design decisions based on post-occupancy feedback and performance analysis, towards a new paradigm of environmental architecture, which is environmentally and energy conscious, yet sensitive to the contextual and sociocultural landscape we live in. The course teaches environmental design methods which relate to

the various stages of architectural design, enabling the evaluation of existing buildings and the design of new ones following a combined bioclimatic and building-occupant focused approach. The core design modules follow an evidence-based design approach where the acquisition of specialised software and analytical tools will be directly applied to an evaluation and design project. The course is interdisciplinary and international providing the skills that can be applied to diverse building typologies and global climatic, environmental and contextual issues. The modules focus on the understanding of the principles and methodology of environmental design and on the development of critical thinking to challenge established practices, positively driving change towards a better and sustainable future.

Guest Critics: Eric Gilbert (Sens), Joana Goncalves, Shashank Jain (Chapman+BDSP), John Moakes (FBM), Despina Serghides Special thanks: Alexandra Andone (PRP Architects), Pedro Aughspach, Meytal Ben Dayan (Architype), Klaus Bode (Chapman+BDSP), Kevin Burchell (PSI), Camilo Diaz (WSP), Catherine Harrington (Architype), Michael Hutchins (Sonnergy), Shashank Jain (Chapman+BDSP), Ripin Kalra, Chris Leung, Tony Lloyd-Jones, Phil McLlwain, Fergus Nicol, Isis Nunez-Ferrera (PSI), Vera Sarioglu (Arup), Zoe Shattock, Ben Shaw (PSI), Fred Stewart (PSI), Becci Taylor (Arup), Filippo Weber (FWA) 172

Peng Ding, Talia Quesada, Yutaka Sato: Building Form as Microclimatic Modifier - Wind Studies Using Computational Fluid Dynamics

ARCHITECTURE AND CITIES is a research

umbrella covering the strong and diverse research, scholarship, teaching and practice undertaken in the Department of Architecture at the University of Westminster. The Department has an international reputation for excellence in teaching and research, for attracting award winning staff and students, and for a wide range of scholarly activities. As contributors to the Faculty of Architecture and the Built Environment’s submission to the 2014 Research Excellence Framework, the department’s research was placed in the top 50% of the 45 submissions in Architecture, Built Environment and Planning. 20% of our publications and research effort were deemed to be ‘world leading’ (4*) and 45% ‘internationally excellent (3*). The four case studies of our research impact also scored very highly. This significant endorsement of our research capability will provide the foundation for expanding and enhancing our UK and international role

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over the next five years. Architecture and Cities is represented by Kate Heron and Ben Stringer at ARENA, a new European-wide Architectural Research Network: www.arena-architecture.eu

ARCHITECTURE AND CITIES includes five

research groups:

Architectural History and Theory Environment and Technology Expanded Territories Experimental Practice Representation, Fabrication and Computing

For the latest news of research activities go to:

www.openresearchwestminster.org

RESEARCH: ARCHITECTURE AND CITIES

Research

Architectural History and Theory Academic Staff: John Bold (Co-ordinator), Harry Charrington, Darren Deane, Dusan Decermic, Davide Deriu, Richard Difford, Elantha Evans, Josephine Kane, Constance Lau, Olivia MunozRojas Oscarsson, Samir Pandya, Andrew Peckham, Shahed Saleem, Gordon Shrigley, Douglas Spencer, Christine Wall, Julian Williams, Victoria Watson

The Architectural History and Theory group includes scholars engaged in a wide range of research into architectural history and theory, cultural studies, urbanism and heritage. These explore the ‘what, why, how and for whom?’ of architectural and building custom and practice, and the various changing meanings and interpretations which have been placed upon them both in the past and in contemporary culture. In a broad reading, architecture may be viewed as artefact, manifestation,

Current PhD Students: Noha Alahmadi, May Aljamea, Samra Khan, Sarah Milne, Emilia Siandou

Associated Courses, Modules and Studios: DS11; History &Theory/Dissertation modules; MArch Architecture; History and Theory pathway of the MA Architecture

symptom and agent of change, fundamental to our understanding of where we have come from and critical to the future development of the built and social environment. Members of the group teach and conduct ground-breaking research in a number of key areas, host symposia and conferences, edit journals, curate exhibitions, and publish books, book chapters, journal articles and reviews.

Research Initiatives and Projects Vertigo in the City: Conversations between the Sciences, Arts & Humanities Prompted by the rapid growth of cities around the world, this exploratory research project examines the phenomenon of vertigo in relation to the urban environment. The project is led by Davide Deriu in collaboration with Josephine Kane and funded by a Wellcome Trust Grant in the Medical Humanities. The term vertigo was often used to describe the maelstrom of the twentieth-century metropolis. What is its significance today? And how can this

concept – with its inherent tension between thrill and anxiety – help us to interpret the contemporary urban experience? These questions have informed a series of field trips and other activities conducted by a multi-disciplinary team of researchers. They will culminate in a two-day symposium that draws on perspectives from the sciences, arts and humanities to discuss how sensations of dizziness and disorientation are variously analysed, treated, evoked, induced, and represented (FABE, 29-30 May 2015).

website: www.vertigointhecity.com twitter: @vertigo_city

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Environment and Technology Academic Staff: Rosa Schiano-Phan and Will McLean (Coordinators), Scott Batty, Nasser Golzari, Jon Goodbun, Anna Liu, Virginia Rammou, Pete Silver, Mike Tonkin, Juan Vallejo, Zhenzhou Weng, Mike Wilson

Environment and Technology brings together two overlapping fields of research in the Department of Architecture: environmental design; and practice-driven research into the history and on-going technological development of architecture. Within the context of the global environmental and energy challenges facing current and future generations of architects, the foci of the environmental design research agenda are the generative potential of environmental design as a practice; the shortfalls between predicted and actual performance of buildings; the socio-cultural and physical interaction between inhabitants and their built environments and the integration and effective application of environmental design into architectural practice. A variety of qualitative and quantitative research methods are used to address these questions. Research into the history and on-going technological development of architecture includes research into atypical construction technologies; the innovative use of materials; bioclimatic design; human comfort and the environmental envelope; systems building design; passive cooling; day-lighting; and acoustics. Research activities and outputs include authored and edited books; regular journal and magazine articles; and practice-driven and funded research into the historic and contemporary relationship between architecture, design, culture, the environment and technology.

Current PhD Students: Izis Salvador Pinto, Philippe Saleh Associated Courses, Modules and Studios: DS17, DS18, MSc Environmental Design

Research Initiatives and Projects Latitudes Network is the first global educational network that puts design at the heart of how we tackle global climate change. Using crowd-sourcing methodology, the latitudes network aims to connect people in different climatic regions, sharing ideas in order to innovate in the field of environmental design. The network is led by a ‘design-led thinking’ approach that includes social dimensions and policy options for addressing climate change and built environment solutions. It is supported by innovative tools and software that allow the creation of a ‘global classroom’ with real-time interactions and screen mirroring. The expanding network of partner universities are based in different latitudes around the world, including Rovaniemi, Tromsø, London, Sao Paolo, Kuala Lumpur, Bologna, Istanbul, Ankara, Delhi, Chennai and, most recently, the Maldives. www.latitudesnetwork.com For more information contact: Isis Nunez Ferrera: i.nunez-ferrera@psi.org.uk

Research

Expanded Territories Academic Staff: Lindsay Bremner (Co-ordinator), Clare Carter, Davide Deriu, Julia Dwyer, Krystallia Kamvasinou, Natalie Newey, Lara Rettondini, Ben Stringer

Expanded Territories is a group of scholars, designers and teachers working on architecture in an expanded field. It brings into dialogue the work of those critically probing sites and practices previously considered outside the realm of architectural and urbanism â&#x20AC;&#x201C; global mobilities, rural landscapes, resource extraction sites, energy infrastructures, big data, the underground, the ocean, the atmosphere etc. â&#x20AC;&#x201C; as valid sites of architectural research and speculation. This is framed by an emerging awareness of the planetary scale of urbanisation, the trans-national scope of urbanism, by the discovery of the anthropocene and by the ethical imperative to work with the

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Current PhD Students: Lilit Mnatsakanyan, Duarte Santo Associated Courses, Modules and Studios: DS02, DS06, DS12, DS14, DS18, DS19

agency and rights of human and non-human actants (animals, plants, minerals) in the shaping of built environments. The group seeks to find new ways to conceptualise, speak about and design architecture and cities in line with these conditions and objectives. Its members are engaged in research-led practice and produce inter-disciplinary work between architecture, landscape architecture, critical studies, urban studies, infrastructure, cultural studies, science and technology studies, philosophy, geography and politics. It hosts regular seminars, symposia and conferences to engage in dialogue around these questions.

Expanded Territories Seminars posters

Research Initiatives & Projects Reimagining Rurality A major academic event, the â&#x20AC;&#x2DC;Re-imagining Ruralityâ&#x20AC;&#x2122; conference took place in February 2015 on the Marylebone campus. It drew attention to the ways that the highly contested and changing characteristics of rurality are conceptualised and represented in contemporary society. In so doing it questioned the role of designers, architects and planners in shaping contemporary perceptions and experiences of rurality and explored ways of re-thinking the cityâ&#x20AC;&#x2122;s relationship with the rural. It also learnt about new settlement formations and how rurality, in contrast to popular misconception, should be seen not only as a site of tradition, but also of great experimentation and change. Reimagining Rurality included 75 speakers from around the world including 6 outstanding keynote speakers, and was accompanied by an exhibition of work by about 30 international artists, photographers, filmmakers, academics and architects. It was organised by Ben Stringer, Krystallia Kamvasinou, Sarah Milne and Andy Colley.

Interim Spaces and Creative Use This research project by Krystallia Kamvasinou assisted by Sarah Milne aims to investigate whether vacant spaces can be beneficial for local communities if officially brought into interim creative uses. It builds upon a historical review of interim spaces (UK and international) to focus on London in the current downturn. Recent initiatives in London are being examined through an empirical study of local creative use in 5 interim sites representative of such initiatives. The research design comprises on-site filming and interviews with initiators, volunteers and users, site surveys, a web blog, and a public workshop open to all participants, while research outputs include academic publications and short films. The project makes an original contribution to key debates including: how to introduce incremental and adaptable planning in development and how to engage communities during the process; worries over the standardisation of space and the search for alternative types of urbanity; and the need to acknowledge everyday practices and the social and ecological value of places. It is recipient of a Leverhulme Research Fellowship (RF-2012-518) interimspacescreativeuse.wordpress.com

Global Mobilities Seminar Series posters

Research

Experimental Practice Academic Staff: Kester Rattenbury (Co-coordinator), Peter Barber, Anthony Boulanger, Nasser Golzari, Sean Griffiths, Eric Guibert, Katherine Heron, Gillian Lambert, Andrei Martin, Stuart Piercy, Shahed Saleem, Jane Tankard, Maria Veltcheva, Camilla Wilkinson, Julian Williams, Andrew Yau Adapt-r Fellows: Sam Kebble (New Zealand), Colm Moore (Eire), Johannes Torpe (Denmark), Anahita Razmi (Iran)

Current PhD Students: John Walter, Isis Nunes Ferreira, Annarita Papeschi, Jason Pomeroy Associated Courses: DS09, DS14, DS15, DS16 Awards: N asser Golzari and Yara Sharif:

Holcim Award Acknowledgement Prize 2014

Yannis Halkiopoulos:

Commendation, RIBA President’s Silver Medal Awards

Stuart Piercy:

RIBA One-off Architect of the Year Award 2014

Experimental Practice (EXP) was set up in 2003 to support, document and generate major experimental design projects that have acted or act as laboratories for the architectural profession, including built and un-built design projects, books, exhibitions and building works. It is known for major initiatives such as the Archigram Archival Project, the Supercrit Series, and the major artsarchitecture venue AmbikaP3. It initiates and runs projects, events and publications, collaborating with individuals and organisations, acting as an umbrella body for design architects who are developing their own design- or practice-based research. EXP has strong links with the RMIT PhD by Practice programme, and leads Westminster’s membership of its European partner organisation ADAPT-r. This exciting and rigorous new form of design research is done by practitioners undertaking PhDs on their own design work, analysing and developing their own work as they do it, and can be accessed through the University of Westminster.

Research Initiatives and Projects Archigram Archival Project: archigram.westminster.ac.uk Supercrits: www.supercrits.com

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Adapt-r/ PhD by Practice model invites practicing architects (and other design practitioners) to contribute to growing research into how designers work, by developing a PhD in the medium of their own practice: analysing, developing and questioning and improving their own work as it is in progress. This rigorous and innovative programme, originally developed by Leon van Schaik at RMIT, is structured by the twice-yearly Practice Research Symposium events, including high-profile ‘crit’ sessions for all candidates. ADAPT-r (Architecture, Design and Art Practice Training-research) is an EU-funded partnership extending this programme through seven European institutions – the University of Westminster, where it is led by Katharine Heron; Aarhus School of Architecture; the Estonian Academy of Arts; Glasgow School of Art; KU Leuven Campus Sint-Lucas (LUCA); RMIT Europe; and the University of Ljubljana. Kester Rattenbury is a regular contributor to the programme. ADAPT-r is funded by an €4M Marie Curie Initial Training Network, and includes Fellowships, training and research conferences, web and print publications, and a major exhibition, to be held at Westminster as part of the P3 programme. http://adapt-r.eu

Other Research Initiatives and Projects

AmbikaP3 The impressive design events initiative P3, of one of London’s leading alternative arts venues, is located in the former Engineering Halls underneath the University of Westminster’s Marylebone building. It was founded by Katharine Heron in 2007 and is directed by her, working with Curator Michael Maziere, Reader in Film and Video, at the School of Media Art and Design. The astonishing venue plays host to a range of ambitious art and architectural installations, music performances and events, as well as being available for private hire. Many exhibitions have been made up from research outcomes generated by substantial grant funded projects such as Elizabeth Ogilvie’s ‘Out of Ice’, or Christie Brown ‘Ceramics in the Expanded Field’, and some with a parallel research conference. AmbikaP3 forms a cornerstone of the School of Architecture’s commitment to the study and production of experimental work in practice. www.p3exhibitions.com

Centre for the Production of the Built Environment (ProBE) ProBE is a university recognised research centre spanning the faculties located on Marylebone campus: Westminster Business School and the Faculty of Architecture & the Built Environment (FABE). It focuses on researching the social processes producing the structures and spaces that frame the urban and rural environment both nationally and globally. It has developed a rich programme of research and related activities, including projects, oral history, film, exhibitions and seminars providing

a research hub, a forum for debate and discussion, and a focus for interdisciplinary and international research projects. ProBE also welcomes visiting fellows and scholars. www.westminster.ac.uk/probe/about-us

SCIBE: Scarcity and Creativity in the Built Environment The SCIBE project was a 3-year research programme funded by EU HERA. The project was led by FABE and involved partners in Vienna and Oslo, and was finally wrapped up this year with the publication by Strelka of The Design of Scarcity (coauthored by Jon Goodbun, Michael Klein, Andreas Rumpfhuber and Jeremy Till). This book concludes (together with a German-language book to be published in Vienna later this year) a significant series of publications to come out of this project, including an AD issue on Scarcity. The key conclusion to come out of the research is that resource scarcity is not a natural result of limited quantities, nor is it simplistically produced by over-population. Rather, scarcity is produced as an inevitable effect of our current global economic system. However, a study of scarcity reveals the workings of this system, and opportunities to intervene in the production of scarcity, in new ways. The project team included funded PhD positions across Europe, and at Westminster Isis Nunez-Ferrera successfully completed her doctoral work looking at ‘Territories of Scarcity and Creativity’ in Ecuador and Kenya. http://www.scibe.eu/

Research

Representation, Fabrication and Computing The extent to which drawing and making techniques, tools and conventions either inform or reflect the nature of architecture has long been debated. But in an age in which digital technology has facilitated a wealth of new opportunities for creative practice it has never been more important to question the role of architectural representation. Scholars, teachers, designers and practitioners in the fields of representation, fabrication and computing set out to explore the nature of drawing and making in their broadest sense, as tools for research and as the vehicles for creative practice. Intended to cut across disciplinary boundaries, the work of the group encompasses a range of activities from historical analysis and the science of visual perception, to design based research and the exploration of innovative new fabrication technologies. This research is divided into three sub-groups:

(1) Body, Space and Representation Academic Staff: Alessandro Ayuso, Ro Spankie (Co-ordinators), Natalie Newey, Kester Rattenbury, Allan Sylvester, Richard Watson, Fiona Zisch Associated Courses: Interior Architecture; DS15

Body Space Representation is a sub-group of

Representation, Fabrication and Computing â&#x20AC;&#x201C; unified by an interest in drawing as a vehicle for spatial imagination. This shared interest focuses on the subject: the user (both real and imagined) and the role of designer, as opposed to the object: architecture. We see hybridisation as a fertile ground for new discoveries and seek to combine genres, disciplines and techniques to challenge and test assumptions. We view research as an open-ended process delivered through a variety of outputs including publications, collaborations, exhibitions, and stand-alone works.

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(2) Design through Fabrication Academic Staff: David Scott (Co-ordinator), Toby Burgess, Guan Lee, Arthur Mamou-Mani, Stuart Piercy Associated Courses: DS10; DS16

The Design through Fabrication sub-group comprises academics and practitioners interested in the role materials, making and new fabrication technologies play in the design and production of architecture. It draws on the extensive capabilities of the facultyâ&#x20AC;&#x2122;s new Fabrication Laboratory that combines a wide range of CNC machines and robot arms with traditional craft-based workshops.

(3) Spatial Interface Academic Staff: Richard Difford (Co-ordinator), Roberto Bottazzi, Filip Visnjic, Victoria Watson Associated Courses: Digital Media pathway of the MA Architecture

Spatial Interface considers a range of issues broadly relating to representation, media technologies and the science of visual perception. The work of this sub-group combines an eclectic mix of history, philosophy and digital media, and its members engage in a range of activities, including design research; participating in and organising exhibitions and festivals; speaking at conferences and symposia, and publishing in journals and edited books.

Architectural Research Forum The Architecture Research Forum is a monthly research seminar at which staff, visiting professors or visiting research fellows present work in progress for discussion and debate. This past year speakers have included Shahed Saleem on ‘Unpacking Muslim Architecture in Britain’, John Sadar on ‘The Magic of Ultraviolet Health Glass’, Victoria Watson on

Architectural Research Forum posters

‘Some Like it Hot’, Samir Pandya on ‘Architecture and its Discontents’, Davide Deriu and Josie Kane on ‘Vertigo in the City’, Julian Williams on ‘Design Studio Culture’, and Paola Piscitelli on ‘Mapping Transactional Spaces in the City’. All staff and students are welcome to attend.

Exhibitions | AmbikaP3

AmbikaP3 With special thanks to colleagues: Curator Michael Mazière, Reader of Film and Video; Venue Manager Niall Carter; Administrator Heather Blair; and all participants.

Recently named one of London leading Arts Venues, AmbikaP3 has developed its acclaimed varied programme since opening in 2007. The spectacular venue plays host to a range of ambitious art and architectural installations, music performances and events, as well as being available for private hire. It is part of London’s cultural scene and creative economy during Fashion Week, London Festival of Architecture, Design Week and Frieze. Many exhibitions have been made up from research outcomes generated by substantial grant-funded projects such as Elizabeth Ogilvie’s ‘Out of Ice’, or Christie Brown ‘Ceramics in the Expanded Field’, and some with a parallel research conference. AmbikaP3 forms a cornerstone of the Department of Architecture’s commitment to the study and production of experimental work in research and practice, working with colleagues in Media Art and Design. In the past twelve months a travelling exhibition brought a group of interactive displays under the heading Schizophrenia Taiwan, and most recently “Potential Architecture”, guest curated by David Thorp, brought new commissions from four architects for installations in P3. Alexander Brodsky

from Moscow, formerly of Paper Architects, Joar Nango a Sami Norwegian from Tromso, Slovenian installation artist Apolonija Šušterŝič, and Sean Griffiths formerly of FAT and now Modern Architect, all made new work for the space. It was recognised as one of our most experimental and innovative exhibitions, challenging architecture to take a critical position. The exhibition played host to a number of lively discussions in the ‘Underground Discussion Club’, and to a new sound event entitled ‘Wayward Geometry’ performed for one evening. Forthcoming exhibitions include World Architecture Festival (June); a short workshop to build an inflatable as a film set for Huw Wahl to make a documentary about; Action Space using historic documentation and new footage (July); ongoing research by artist John Walter entitled ‘Alien Sex Club’ in summer 2015 (July / Aug); a video installation on wild diving by artist Martina Amati (September); and in October a major installation by the renowned feminist Belgian film maker Chantal Ackerman.

www.p3exhibitions.com Katharine Heron Director

(top left) Apolonija Šušterŝič: Underground Discussion Club An elegant modular formal sculpture in which visitors to the exhibition can sit and watch the documentation of a panel discussion filmed in front of an invited audience, concerning current politics of development and the resultant hard-core social and cultural discrimination. (photographer: Michael Mazière)

(top right) Sean Griffiths: Piece for 53 Door Frames and 10 Mirrors Sean uses multiple doorways augmented by mirrors and suspended off the ground to create a series of labyrinthine spaces and endless corridors in which visitors encounter the physicality of the work. (DF)

(bottom left) Joar Nango: Nomads Won’t Stand Still for their Portraits A beautifully atmospheric video and felt sculpture made in the Ger settlement in Ulaan Bataar this year in collaboration with a small family-run felt factory – a model for a proposed community cinema. (photographer: David Freeman)

(bottom right) Alexander Brodsky: Five Towns A pavilion is made from local construction materials to fill the height of P3’s vast space, and within this atmospheric space, a series of tiny unfired clay sculptures sitting on five plinths provide the poetry of material decay on a macro and micro scale. (DF)

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Westminster Architecture Society

Westminster Architecture Society Team: Luc Sanciaume and Nouha Hansen (founders and presidents 2014-2015), Alex Belooussov (treasurer), Laylac Shahed (current team member and president 2015-2016)

We have founded the Westminster Architecture Society as a student-led platform for curiously exploring architecture. We are interested in expanding our knowledge and believe in growing by sharing thoughts and ideas. Being architecture students is a great opportunity to be curious, bring new ideas forward and connect with each other. Through our activities, we wish to strengthen the network of students and staff both within our own faculty and with other faculties. Our activities this year included a fantastic Christmas party attended by students, academic staff and alumni, the Venice Exhibition as a legacy of our field trip, a series of yoga sessions to relax especially around crits, an exhibition at the arts festival MAD in Harrow campus, and an urban sketching workshop with Simone Ridyard.

We are also continuously engaging in the national discussion about architectural education. Among others, we have participated in the Architecture Student Network Futures conference in Manchester and the RIBA Education Forum. The society is created for students with the valuable and generous supports of our tutors and the universityâ&#x20AC;&#x2122;s resources. We always welcome new ideas, participation and collaboration. Do not hesitate to get in touch with us: architecture.soc@su.westminster.ac.uk

Special thanks to Eira Mooney and Ben Brakspear and to all the other enthusiastic team members who have helped in the happening of WAS. 186

Westminster Architecture Society 2015

Robin Partington Awards

Robin Partington & Partners (RPP) Material Practice Awards

We are delighted with this collaboration with Robin Partington & Partners; their generosity will enable our students to develop their projects through working with materials and craft techniques in contact with practitioners. Harry Charrington

As part of a new competitive sponsorship scheme generously supported by Robin Partington & Partners, the Material Practice Awards were launched in February. These new awards are designed to help students further develop and prototype the material and environmental technologies of their Design Studio projects. Unlike conventional student prizes awarded at the end of the year, these awards are explicitly designed to support and encourage the design process. Twenty final year students from BA Architecture and the MArch made proposals; and seven students were chosen to present their work at the RPP studio. Robin Partington said of the collaboration: “Nurturing new young talent is key to the future of our profession and we look forward to working with academics and students at the Faculty of Architecture

and the Built Environment to identify and support ideas that can make a real difference.” Robin Partington & Partners have most recently made the Sunday Times ‘Top 100 Best Small Companies to Work for’. It has also been shortlisted for the AJ100 Practice of the Year and Employer of the Year awards. Awards of between £500 and £1000 were made to the following students:

Benjamin Brakspear & Kishan San Nicole Cork Rob Cullen Shaun Huddleston

Garis Iu James Rogers

A further £3,000 will be awarded to help selected students from this group to develop their work in collaboration with RPP. £2,000 will be awarded to outstanding Dissertation students studying materials and craft to support their travel and research costs.

Students presenting their work at RPP’s Studio to Robin Partington, Jason Geen, Charlotte Henney, Roda Sulaiman & Yashin Kemal (Roda and Yashin are both Westminster graduates)

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Staff

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Wilfred Achille

Rita Darch

Adam Holloway

Yota Adilenidou

Dusan Decermic

Steve Jensen

Alessandro Ayuso

Darren Deane

Andrei Jipa

Peter Barber

Davide Deriu

Krystallia Kamvasinou

Scott Batty

Richard Difford

Josephine Kane

Lamis Bayar

Leftos Dousis

Joe King

Stefania Boccaletti

Julia Dwyer

Maria Kramer

John Bold

Christian Ducker

Debby Kuypers

William Bondin

John Edwards

Gillian Lambert

Roberto Bottazzi

Anthony Engi Meacock

Constance Lau

Anthony Boulanger

Elantha Evans

Guan Lee

Lindsay Bremner

Barti Garibaldo

Dirk Lellau

Stephen Brookhouse

Colin Gleeson

Chris Leung

Willem de Bruijn

Nasser Golzari

Anna Liu

Toby Burgess

Jon Goodbun

Arthur Mamou-Mani

Clare Carter

Sean Griffiths

Andrei Martin

Ian Chalke

Eric Guibert

Will McLean

Harry Charrington

Michael Guy

Alison McLellan

Alain Chiaradia

Claire Harper

Sarah Milne

Tom Coward

Katherine Heron

Rebecca Mortimore

Richa Mukhia

Jonathan Schofield

Christine Wall

Olivia Munoz-Rojas Oscarsson

David Scott

John Walter

Clare Melhuish

Gordon Shrigley

Elly Ward

Natalie Newey

Jeanne Sillett

Richard Watson

John Oâ&#x20AC;&#x2122;Shea

Pete Silver

Victoria Watson

Samir Pandya

Giles Smith

Zhenzhou Weng

Amanda Pawliszyn

Ro Spankie

Andrew Whiting

Andrew Peckham

Douglas Spencer

Camilla Wilkinson

Sue Phillips

Joanne Stevens

Julian Williams

Stuart Piercy

Bernard Stilwell

Mike Wilson

Alicia Pivaro

Ben Stringer

Jonathan Wong

Anthony Powis

Gareth Stokes

Andrew Yau

Virginia Rammou

Allan Sylvester

Alessandro Zambelli

Kester Rattenbury

Alison Sylvestre

John Zhang

Thomas Reinke

Jane Tankard

Fiona Zisch

Lara Rettondini

Mike Tonkin

Michael Rose

Alkis Tsavaras

Shahed Saleem

Juan Vallejo

Alex Schramm

Maria Veltcheva

Rosa Schiano-Phan

Filip Visnjic

Architectural Practice Links

Practice Links 2015

2bm architekten

Crossrail Architects

Kennedy Woods

PUP Architects

5 Studio

CZWG Architects

LaMa

Ramboll and Format

Aberrant Architecture

Design Solutions

Loyn & Co Architects

RFK Architects Ltd

Adamou Landscape Architecture

DK-CM

Mae

RHWL

Alan Higgs Architects

East

Make Architects

Robin Partington & Partners

ech2o

Matthew Lloyd Architects

RTKL

Eckersley Oâ&#x20AC;&#x2122;Callaghan

MLM Consulting Engineers

Sens

Emil Eve Architects

Mobile Studio

Sheppard Robson

Eric Parry Architects

Morph Structures

Sonnergy

Facit Homes

Neri & Hu Design & Research Office

Structuremode

Newtecnic

Studio S&M

Allford Hall Monaghan Morris Architects Amos and Amos AOC Architype Arup Assemble atelierdomino Atelier One Atelier Ten Aukett Swanke AZC Architects Bradley Van Der Straeten Architects BuroHappold Cass Projects Office Cazenove Architects Chapman+BDSP Coldham and Hartman Architects 192

FBM Feilden Clegg Bradley Studios Feilden Fowles Fleet Architects Flying Hut Form_art architects

Optima Projects Ordinary Architecture Papa Architects Penoyre & Prasad Architects

Foster and Partners

Platform 5

FWA Gerald Eve Gort Scott

PLP Architecture Pollard Thomas Edwards

Henley Halebrown Rorrison

Pringle Brandon Perkins+Will

Honey Architecture

Pringle Richards Sharratt Architects

Houchell Studio Jason Bruges Studio Johnson Naylor

Poblete Black Grout

PRP Architects PSI

Studio Iris Studio Weave Surman Weston Tim Ronalds Architects Tonkin Liu Ullmayer Sylvester Architects Universal Design Studio Vola Waind Gohil Architects Wilkinson Eyre Architects WSP

Architecture Department Studio Restoration, 2015